CATALOGUE  OF 
PAINTINGS 


WALTERS  GALLERY 

BALTIMORE 


» 


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in  2015 


https://archive.org/details/walterscollectioOOwalt 


THE 


WALTERS  COLLECTION 


BALTIMORE 


BALTIMORE,  MD.,  U.  S.  A. 


fHE6rnYCLNTE.» 


SOUTH  GALLERY. 


1 


DELACROIX  (Eugene) 


Paris 


Pupil  of  Guerin. 
Medals,  1824-48.     Medal  of  Honor  (E.   U.),  1855. 
Legion  of  Honor,   1831.     Officer,   1846.     Commander,  1855. 
Member  of  the  Institute,  1857. 
Born,  1798.    Died,  1863. 


"  Study,  from  a  Sketch  by  Rubens." 


Pupil  of  Paul  Delaroche. 
Prize  of  Rome,  1839. 
Medals,  1851-55  (E.  U.)-67  (E.  U.). 
Legion  of  Honor,  1853.    Officer,  1867.    Commander,  1874. 
Member  of  the  Institute,  1874r-Grand  Prix,  1889  (E.  U.). 


igi^  X  \2.y2 


Collection  Daniel  Cottier,  London. 
Collection  E.  F.  Milliken,  New  York. 


2 


HEBERT  (A.  A.  E.) 


Paris 


Returning  from  the  Well.' 

i6xio^ 


3 


RIBOT  (Theodule) 


Paris 


Medals,  1804-65-78  (E.  U.). 
Legion  of  Honor,  1878.    Officer,  1887. 
Born,  1820.    Died,  1891. 


"  The  Young  Cook." 


I4X  II 

Collection  P.  A.  Cheramy,  Paris. 


3 


4 

JIMENEZ  Y  ARANDA  (L.)  Spain 

Pupil,  Academy  of  Seville. 
Medal,  1882. 
Born,  1832.    Died,  1903. 

"  Boutique  of  Figaro." 

l6  X  22 


5 

HEBERT  (A.  A.  E.)  Paris 

Pupil  of  Paul  Delaroche. 
Prize  of  Rome,  1839. 
Medals,  1851-55  (E.  U.)-67  (E.  U.). 
Legion  of  Honor,  1858.    Officer,  1867.    Commander,  1874. 
Member  of  the  Institute,  1874r-Grand  Prix,  1889  (E.  U.). 

"  Virgin  of  the  Deliverance." 

15x11 


6 

DELACROIX  (Eugene)   Paris 

Pupil   of  Guerin. 
Medals,  1823-48.    Medal  of  Honor  (E.  U.),  1855. 
Legion  of  Honor,  1831.    Officer,  1846.    Commander,  1856. 
Member  of  the  Institute,  1857. 
Born,  1798.    Died,  1863. 

"  The  Combat." 

39x32 


DAUMIER  (Plonore)  Paris 

Born,  1808.    Died,  1879. 

"  The  Prison  Choir." 

20  x  24 . 


8 

DECAMPS  (A.  G.)  '  Paris 

Pupil,  of  Pujol,  David,  and  Ingres. 
Medals,  1831-34. 
Clievalier,  Legion  of  Honor,  1839.    Officer,  1851. 
Born,  1803.     Died,  1860. 

"  Sunset,  Tombs  near  Cairo." 

14x26 

Collection  Mrs.  S.  D.  Warren. 


4 


9 

INGRES  (J.  A.  D.)  Paris 

Pupil  of  David. 
Gold  Medal,  1855  (E.  U.). 
Commander,  Legion  of  Honor,  1845. 
Grand  Officer,  L.  H.,  1855. 
Born,  1780.     Died,  1867. 

"  Oedipus  and  the  Sphinx." 

42x36 

Collections  Perier— Secretan— Cherami. 


10 

DELACROIX  (Eugene)  Paris 

Pupil  of  Guerin. 
Medals,  1824-48.    Medal  of  Honor  (E.  U.),  1855. 
Legion  of  Honor,  1831.    Officer,  1846.    Commander,  1855. 
Member  of  the  Institute,  1857. 
Born,  1798.    Died,  1863. 

"  Marphise." 

39x32 


11 

MONET  (Claude)  Paris 

"  Springtime." 

18  X  26 


12 

BAUDRY  (Paul)  Paris 

Born,  1828.      Died,  1886. 

"  Diana  Reposing." 

16  X  24 


13 

INGRES  (J.  A.  D.)  Paris 

Pupil  of  David. 
Gold  Medal,  1855  (E.  U.). 
Commander,  Legion  of  Honor,  1845. 
Grand  Officer,  L.  H.,  1855. 
Born,  1780.    Died,  1867. 

*'  Cardinal  Bibieana  Presenting  his  Niece  to  Raphael." 

24  X  18 


S 


14 

THAULOW  (Fritz)  Norway 

"  The  Ocean." 
33x41 


15 

CONSTABLE  (John),  R.  A  England 

Born,  1776.    Died,  1837. 

"  The  Old  Mill." 

44  X  40 


16 

PUVIS  DE  CHAVANNES  (P.)  Paris 

Born,  1824.    Died,  1898. 

Ludus  pro  Patria." 

40  X  78 


17 

DAUBIGNY  (CP.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1848-53-55  (E.  U.) -57-59-67  (E.  U.). 
Legion  of  Honor,  1859. 
Officer  of  the  Legion  of  Honor,  1874. 
Diploma  to  the  memory  of  deceased  artists,  1878  (E.  U.). 
Born,  1817.    Died,  1878. 

"  Sunset  on  the  Coast  of  France." 

59x30 

Dated  1865. 


18 

FRERE  (Ed.)   .      .  Paris 

Pupil  of  P.  Delaroche. 

Medals,  1851-52-55. 
Legion  of  Honor,  1855. 
Born,  1819.    Died,  1886. 

"  The  Little  Housekeeper." 

9x  13 

Dated  1857 


6 


19 

HERRING  (J.  R,  Sr.)  London 

Born,  1795.    Died,  1865. 

"  Mare  and  Foal." 

IlJ^XIO 
Dated  1853. 


20 

FRERE  (Ed.)  Paris 

Pupil  of  P.  Delaroche. 

Medals,  1851-52-55. 
Legion  of  Honor,  1855. 
Born,  1819.    Died,  1886. 

"  Going  to  School." 

10X12 
Dated  1853. 


21 

KNAUS  (Prof.  L.),  dec'd  Berlin  • 

Pupil  of  Diisseldorf  Academj'. 
Medals,  1853-55  (E.  U.) -57-59. 
Legion  of  Honor,  1859. 
Grand  Medal  of  Honor  (E.  U.),  1867. 
Officer  of  Legion  of  Honor,  1867. 
Medal,  Vienna,  1882.     Medal,  Munich,  1883. 
Professor  in  the  Academj',  Berlin. 

"  Mud  Pies." 

43  X  25 

From  the  Oeltzelt  Collection,  Vienna. 
Dated  1873. 


22 

FRERE  (Ed.)  Paris 

Pupil  of  P.  Delaroche. 

Medals,  1851-52-55. 
Legion  of  Honor,  1855. 
Born,  1819.    Died,  1886. 

"  Helping  Herself." 

8  X  10 

Dated  1853. 


7 


23 

COUTURE  (Thos.)   Paris 

Pupil  of  Gros. 
Medals,  1844-47-55. 
Legion  of  Honor,  1848. 
Born,  1815.    Died,  1878. 

"  Horace  and  Lydia." 

Toy2  X 


24 

FRERE  (Ed.)  Paris 

Pupil  of  P.  Delaroche. 

Medals,  1851-52-55. 
Legion  of  Honor,  1855. 
Born,  1819.    Died,  1886. 

"  The  Little  Dressmaker." 

9x11 

Dated  1858. 


25 

ROUSSEAU  (Theo.)  Paris 

Pupil  of  Lethiere. 
Medals,  1834-49-55. 
Legion  of  Honor,  1852. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  1867. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1812.    Died,  1867. 

"  Le  Givre— Winter  Solitude." 

38x25 

Collection  of  Laurent  Richard,  Paris. 
Collection  of  Baron  de  Beurnonville,  Paris. 

One  frosty  day,  in  order  to  distract  his  mind  from  a  disturbing  promise 
made  to  Jules  Dupre,  Rousseau  set  himself  to  paint,  upon  a  white,  unpre- 
pared canvas,  the  hills  of  Valmondois  as  seen  a  mile  away  across  the  Oise, 
along  the  Des  Forgets  road. 

The  composition  could  not  be  more  simple.  Little  hillocks  heaped  in  the 
foreground  are  covered  with  half-melted  snow,  and  the  sun,  red  in  the 
midst  of  a  leaden  sky,  is  seen  dying  and  threatening  through  the  clouds. 
A  dreary,  overwhelming  spectacle,  in  which  Rousseau  shows  himself  great 
in  depth  of  expression. 

"  L'Efifet  de  Givre  "  is  a  work  modern  in  its  spirit  and  in  its  poetry. 

Rousseau  executed  this  remarkable  picture,  under  great  excitement,  in 
eight  days.  I  would  not  believe  this  miracle  until  Dupre  assured  me  of  it. 
Whoever  has  carried  in  his  hand  the  load  of  a  palette  will  ask  how  it  is 
possible  for  an  artist  to  arrive  at  such  a  harmony  of  tone,  how  he  could 


8 


amass  and  co-ordinate  such  a  solidity  of  painting  in  so  short  a  period,  when 
so  many  skillful  men  require  successions  of  time,  and  alluvion  of  works, 
to  bring  forth,  after  years  of  patience,  such  a  resounding  symphony. 

I  ask  the  explanation  from  men  of  his  calling,  from  master  painters  in 
the  arts  and  sciences.  All  answer  me  with  the  shrug  of  the  doubter  or  of 
the  astounded — yet  the  fact  remains. 

And  this  admirable  picture  was  but  another  sad  trial  in  Rousseau's 
artistic  life.  He  was  unable  to  dispose  of  it.  No  one  desired  this  pathetic 
drama.  Bought  simply  to  make  it  sell,  by  M.  Paul  Perier,  an  enthusiastic 
admirer  of  Rousseau,  it  passed  into  the  hands  of  a  dealer,  who  traded  it 
with  Troyon  for  a  study  of  sheep.  At  Troyon's  sale,  for  the  first  time  it 
was  seen  in  its  true  light,  having  required  twenty  years  to  make  it  under- 
stood. 

(From  Alfred  Sensier's  Souvenirs  sur  Th.  Rousseau,  p.  151.) 


26 

ZIEM   (Felix)  Paris 

Medals,  1851-52-55. 
Legion  of  Honor,  1857. 
Boin,  1821.      Died,  1908. 

"  Venice— Sunset." 

53x38 

From  the  Goldschmidt  Collection,  I'aris. 


27 

FRERE  (Ed.)  Paris 

Pupil  of  P.  Delarodie. 

Medals,  1851-52-5.5. 
licyion  of  Honor,  1855. 
l?Mrii,  1819.    Died,  1886. 

"  Preparing  Dinner." 

20  X  16 
Dated  1868. 


28 

DAGNAN-BOUVERET  (P.  A.  J.)  Paris 

Pupil  of  Gerome. 
Medals,  1878-80. 
Legion  of  Honor,  1885. 

"  The  Musician." 

7x9 

From  the  Morgan  Collection. 
Dated  1884. 

9 


29 

FRERE  (Ed.)  Paris 

Pupil  of  P.  Delaroche. 

Medals,  1851-52-55. 
Legion  of  Honor,  1855. 
Born,  1819.      Died,  1886. 

"  The  Cold  Day." 

13  X  i6 

Dated  1858. 


30 

MILLET  (J.  F.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1853-64  (E.  U.)-67. 
Legion  of  Honor,  1868. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1814.    Died,  1875. 

"The  Sheepfold  (Moonlight)." 

24  X  18 

"  Hundred  Masterpieces  "  Exhibition,  Paris,  1883. 

Albert  Wolff,  the  well-known  French  critic,  says  of  this  work  : 
" '  The  Sheepfold '  is  a  masterpiece.  The  mist  wraps  the  whole  scene, 
the  shepherd  is  enveloped  in  his  cloak,  and  drives  into  the  enclosure  his 
flock  of  sheep,  which  huddle  together  under  the  keenness  of  the  night;  the 
moon  lights  up  the  scene  with  its  pale  and  undecided  radiance — farther  than 
the  eye  can  see,  a  silence  hangs  over  the  fields.  The  canvas  is  only  some 
twenty  inches  wide,  and  it  produces  the  effect  of  a  work  of  the  vastest  pro- 
portions— poetry  penetrates,  solitude  invades  the  fancy  so  completely  that 
we  think  no  more  of  the  size  of  the  picture.  It  becomes  im'mense,  like 
Nature. 

"  Nothing  can  be  simpler  than  the  composition  of  this  picture,  and  noth- 
ing more  striking  than  the  verity  of  its  impression — all  bespeak  the  hour 
when  mysterious  noises  begin  to  arrive  from  distant  parts  of  the  plain, 
while  the  wan  light  of  the  moon  gives  every  object  an  unnatural  and  puz- 
zling shape." 


31 

ALMA-TADEMA    (L.),   R.   A  •  London 

Pupil  of  Leys. 
Member  of  the  Royal  Academy,  Amsterdam,  1863. 
Medal  at  the  Salon,  Paris,  1864. 
Knight  of  the  Order  of  Leopold  (Belgium),  1866. 
Second-class  Medal  at  the  International  Exhibition,  Paris,  1867. 


10 


Knight  of  the  Order  of  the  Dutch  Lion,  1868. 
Knight,  First  Class,  of  the  Order  of  Merit  of  St.  Michael, 
Bavaria,  1869. 
Member  of  the  Royal  Academy  of  Munich,  1871. 
Knight  of  the  Order  of  the  Legion  d'Honneur,  France,  1873. 
Grand  Gold  Medal,  Berlin,  1874. 
Member  of  the  Royal  Academy  of  Berlin,  1875. 
Knight  of  the  Third  Class,  Lion  d'Or  of  the  House  of  Nassau, 
1876. 

Knight  of  the  Third  Class  of  the  Koenigliche  Kronen-Orden  of 
Prussia,  1877. 

Honorary  Professor  of  the  Royal  Institute  of  Fine  Arts,  Naples, 
1878. 

First-class  Medal  at  the  International  Exhibition,  Paris,  1878. 
Officer  of  the  Legion  of  Honor,  1878. 
Royal  Academician,  London,  1879. 
Order  of  Merit,   Berlin,  1881. 
Corresponding  Member  Academy  Beaux  Arts,  1881. 

"  The  Triumph  of  Titus." 

12x17 

From  the  Artist, 
Opus  CCLXIX. 


The  Artist  writes :  "  My  small  canvas  represents  the  offering  after  the 
'  Triumph  of  Titus '  of  a  part  of  the  spoil  brought  from  the  Temple  of 
Jerusalem  to  the  Temple  of  Jupiter  Victor,  at  the  Palatine. 

"  There  are  many  traces  left  of  this  temple  among  the  ruins  of  the  palaces 
of  the  Caesars,  such  as  the  block  of  masonry  on  which  it  was  built,  portions 
of  the  columns,  and  half  the  round  altar.  The  steps,  moreover,  are  in  many 
parts  still  standing,  as  indicated  on  the  plans  published  by  Rossi  when 
excavating  for  Napoleon  III.  They  led  to  the  Imperial  Loggia  on  the 
Circus  Maximus,  where,  after  a  triumph,  the  people  were  entertained  by 
games,  etc. 


*********** 

"  After  returning  '  Thanks  to  the  Gods,'  the  spoil  has  been  deposited 
among  the  chanters  on  the  uppermost  terrace;  the  next  is  occupied  by 
priests  officiating  round  the  head  altar ;  and  on  the  third  stand  other  priests 
holding  palm  leaves  in  honor  of  the  ceremony.  The  officers  of  the  different 
arms  who  have  distinguished  themselves  during  the  war  are  under  the 
archway,  bearing  branches  of  laurel. 

"  Before  them  walks  Domitian,  brother  and  successor  of  Titus,  talking, 
as  he  goes,  to  his  niece  Julia,  of  whom  he  was  proverbially  fond,  and  who 
is  now  with  her  father,  according  to  a  custom  which  exacted  that  a 
triumphator  should  be  accompanied  by  his  youngest  child. 

"  Titus,  clad  in  gold  armor,  holds  his  daughter's  hand  and  is  preceded 
by  his  father,  Vespasian,  who  has  been  officiating  as  high  priest  and  carries, 
accordingly,  the  patena  used  at  such  ceremonies.  Twelve  lictors  clear  the 
way  before  him  (these  are,  of  course,  but  partly  visible). 

"It  is  a  well-known  fact  that  on  such  occasions  the  Imperial  family  wore 
silk." 


II 


32 

TURNER  (J.  M.  W.)  London 

Associate  of  Royal  Academy. 
Born,  1775.    Died,  1851. 

"  St.  Michael's  Mount." 

39  X  49 

Purchased  from  Mr.  Greg  of  Manchester. 
A  sketch  in  oils  in  South  Kensington  Museum. 


33 

BRANDON  (Ed.),  dec'd   Paris 

Pupil   of  Montfort. 
Medals,  1865-67. 

"  Portuguese  Synagogue  at  Amsterdam." 

69  X  30 

From  the  Artist. 
Salon,  1873. 
Dated  1867. 


34 

GEROME  (J.  L.)  Paris 

Pupil  of  P.  Delarochc. 
Medals,  1847-48  (E.  U.)-55. 
Legion  of  Honor,  1855. 
Member  of  the  Institute  of  France,  1865. 
One  of  the  eight  Grand  Medals  of  Honorl  (E.  U.),  1867. 
Officer  of  the  Legion  of  Honor,  1867. 
Grand  Medal  of  Honor,  1874. 
Commander  of  the  Legion  of  Honor,  1878. 
Medal  Sculpture  (E.  U.),  1878. 
Grand  Medal  of  Honor  (E.  U.),  1878. 
Professor  in  the  School  of  the  Beaux  Arts. 

"  On  the  Desert." 

10  X  8 

From  the  Artist. 


35 

DAUBIGNY  (C.  F.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1848-53-55-57-59-67. 
Legion  of  Honor,  1859. 
Officer  of  the  Legion  of  Honor,  1874. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1817.    Died,  1878. 

"  Landscape,  with  Gleaners." 

6  X  10 


12 


36 

TURNER  (J.  M.  W.)  London 

Associate  of  the  Royal  Academy. 
Bom,  1775.    Died,  1851. 

"  Ehrenbreitstein." 

23  X  29 


37 

JALABERT  (Chas.  F.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1847-51-53-55  (E.  U.)-67  (E.  U.). 
Legion  of  Honor,  1855. 
Officer  of  Legion  of  Honor,  1867. 
Born,  1819.    Died,  1901. 

"  Orpheus." 

38x43 

From  the  Alex.  White  Collection,  Chicago. 
Dated  1853. 


38 

DUPRE  (Jules)  Paris 

Medals,  1833-1867  (E.  U.). 
Legion  of  Honor,  1849. 
Officer  of  Legion  of  Honor,  1870. 
Born.  1812.    Died,  1889. 

"  A  Bright  Day." 

17  X  II 

From  the  Collection  Gavet,  Paris. 
Dated  1870. 


39 

ZAMACOIS  (Edouard)  Paris 

Pupil  of  Meissonier. 
Medal,  1867. 

Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Born,  1843.    Died,  1871. 

"  Spain,  1812 — French  Occupation." 

20  X  18 

From  the  Widow  of  the  Artist. 
Dated  1866. 


Two  French  cuirassiers  have  been  lured  into  a  cabaret  and  murdered. 
The  murderers  are  disposing  of  the  bodies  by  throwing  them  down  a  well. 


13 


40 

DE  NEUVILLE  (A.)  Paris 

Pupil  of  Picot. 
Medals,  1859-61. 
Legion  of  Honor,  1873. 
Officer  of  Legion  of  Honor,  1881. 
Born,  1836.    Died,  1885. 

"  The  Attack  at  Dawn." 

86  X  57 

Dated  1877. 

A  detachment  of  Mobiles  and  Turcos  of  the  army  of  Bourbaki,  retreating 
on  Switzerland,  is  surprised  at  daybreak  by  a  Prussian  column  in  a  village 
of  the  Jura. 


41 

TURNER  (J.  M.  W.)  London 

Associate  of  the  Royal  Academy. 
Born,  1775.    Died,  1851. 

"  Landscape,  Raby  Castle." 
47  X  70 


42 

DECAMPS  (A.  G.)  Paris 

Pupil  of  Pujol. 
Medals,  1831-34. 
Chevalier  of  the  Legion  of  Honor,  1839. 
Officer  of  the  Legion  of  Honor,  1851. 
Born,  1803.    Died,  1860. 

"  The  Suicide." 

22  X  15 

From  the  W.  T.  Blodgett  Collection,  New  York. 


43 

DIAZ  (N.)  Paris 

Medals,  1844-46-48. 
Legion  of  Honor,  1851. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Bora,  1807.   Died,  1876. 

"  Effect  of  Autumn." 

i6xi2 


14 


44 


COUTURE   (Thos.)   Paris 

Pupil  of  Gros. 
Medals,  1844-47-55. 
Legion  of  Honor,  1848. 
Born,  1815.    Died,  1878. 

"  Day  Dreams." 

35  X  46 

Probasco  Collection. 
Dated  1859. 


45 

PLASSAN  (A.  E.)  Paris 

Medals,  1852-57-59. 
Medal,  Phila.  Centennial  Exp.,  1876. 
Legion  of  Honor,  1859. 
Born,  1817.    Died,  1903, 

"  Devotion." 

9  X  12 
From    the  Artist. 


46 

CHAPLIN   (Charles)  Paris 

Pupil   of  Drolling. 

Medals,  1851-52-65. 
Legion  of  Honor,  1865. 
Officer  of  the  Legion  of  Honor,  18^7. 
Born,  1825.    Died,  1891. 

"  Devotion." 

8x  II 

From    the  Artist. 


47 

PLASSAN  (A.  E.)  Paris 

Medals,  1852-57-59. 
Medal,  Phila.  Centennial  Exp.,  1876. 
Legion  of  Honor,  1859. 
Born,  1817.    Died,  1903. 

"  Prayer." 

8i^x  II 

From   the  Artist. 


15 


48 

MADRAZO  (Raimundo  de)  Pans 

Pupil  of  Cogniet. 
Medal,  1878. 
Legion  of  Honor,  1878. 
Gold  Medal  (E.  U.),  1889. 
Officer  of  the  Legion  of  Honor,  1889. 

"  Coming  out  of  Church." 

39  X  25 


49 

DAGNAN-BOUVERET  (P.  A.  J.)  Paris 

Pupil  of  Gerome. 
Medals,  1878-80. 
Legion  of  Honor,  1885. 

"  An  Accident." 

49x35 

Salon,  1880. 
Dated  1879. 


50 

WILLEMS  (Florent)  Paris 

Medals,  1844-46-55-67  (E.  U.). 
Medal  at  Brussels,  1843. 
Chevalier  of  the  Order  of  Leopold. 
Legion  of  Honor,  1853. 
Officer  of  the  Order  of  Leopold,  1855. 
Officer  of  the  Legion  of  Honor,  1864. 
First-class  Medal,  Exposition  Universel,  1878. 

"  The  Health  of  the  King." 

16  X  12 


51 

GEROME  (J.  L.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1847-48  (E.  U.)-55. 
Legion  of  Honor,  1855. 
Member  of  the  Institute  of  France,  1865. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  18G7. 
Officer  of  the  Legion  of  Honor,  1867. 
Grand  Medal  of  Honor,  1874. 
Commander  of  the  Legion  of  Honor,  1878. 
Medal  Sculpture  (E.  U.),  1878. 
Grand  Medal  of  Honor  (E.  U.),  1878. 
Professor  in  the  School  of  the  Beaux  Arts. 
Born,  1824.    Died,  1904. 

"  The  Duel  after  the  Masquerade." 

21  X  15 

From  the  Artist. 


16 


The  London  Athencuum  of  January  30,  1858,  spoke  of  it  as  follows: 

"  It  appeared  at  the  fag  end  of  the  last  French  Exhibition,  but  too  late  to 
receive  the  universal  admiration  due  to  its  great  merits,  and  too  late  to 
receive  from  us  more  than  a  line  of  notice.  The  scene  is  the  Bois  de 
Boulogne — time,  daybreak;  the  sky  lurid  with  a  dull  yellow,  curdling  fog. 
The  duel  has  just  taken  place.  The  one  who  is  pricked  to  the  heart  is  a 
Pierrot — one  of  those  Scaramouch  clowns  that  the  Italians  introduced  into 
France  in  the  days  of  Bellerose  and  Gros  Gentlareme.  His  face  is  a  three- 
act  tragedy  reduced  to  one  look ;  a  gray  glaze  is  over  the  eye ;  the  passionate, 
sensual  mouth  is  just  dropping  with  a  horrible,  agonizing  grimace,  that 
conveys  to  you  the  very  gasp  and  sickness  of  the  first  sensation  of  a  vital 
wound.  The  face  is  drawn  with  the  pain ;  and  from  under  the  white  fool's 
cap  the  death-sweat  trickles  through  the  white  fool's  paint  still  on  the 
vicious  cheeks,  just  as  raindrops  do  through  the  silvery  mist  on  a  winter 
window-pane.  His  legs  are  thrust  out  stiff  and  straight  in  the  broad,  loose 
fool's  dress,  and  one  hand  still  holds  the  thin,  sharp  sword,  and  another 
clutches  at  life.  Pierrot — poor,  mad,  stabbed  Pierrot — is  held  in  the  half 
careless  arms  of  a  Due  de  Guise,  in  the  full  white  ruffles,  short  black  coat, 
and  slanted,  close  cap  of  that  Barthplomean  age.  Sorry,  or  careless,  you 
hardly  know  which,  for  his  dark  face  is  bent  with  a  sullen  anxiety  over 
the  sped  man.  A  Doge  of  Venice,  in  a  great  flaunting  robe  of  flowered 
green  satin,  with  another  over  it  of  scarlet,  edged  with  deep,  stiff  gold 
lace,  bends  over  Pierrot,  groping,  with  horror  that  grinding  thrust!  There 
is  the  sword — dropped  as  it  was  drawn  from  the  cloven  heart! 

"  The  harlequin  has  a  great-coat  thrust  on  by  one  sleeve  like  a  hussar 
jacket,  just  as,  hot  and  fired  with  brandy,  they  tumbled  into  the  coach  and 
drove  straight  for  the  lonely  wood  outside  the  Boulevards.  How  we  long 
that  that  bent  man  in  the  long  skin  cloak  and  fur  hood,  with  the  tasseled 
moccasins,  and  hair  tied  up  in  a  knot,  with  gaudy  red  and  yellow  macaw 
feathers  stuck  through,  would  turn,  that  we  might  see  and  profit  by  his 
anguish !  Well  may  the  frozen  trees  shake  their  long  black,  spectral 
fingers  over  the  scene — the  horrible  sequel  of  a  night  of  vice. 

"  And  there  are  two  coaches  seen  through  the  fog,  with  the  skeleton- 
looking  horses,  fit  only  to  draw  an  orphan's  hearse  to  a  cheap  funeral,  with 
their  carrion  heads  drooping  with  the  night's  toil  and  roll.  One  coachman 
is  holding  up  his  hand  in  horror  at  the  scene ;  he  wonders  if  any  one  will 
pay  his  fare,  or  if  he  will  be  arrested.  He  does  not  like  carrying  home  the 
dead  fool.  The  other  waits  and  listens  ungesticulating. — There,  too — the 
two  long  paths  of  stamped  footprints  in  the  snow ;  the  one  right,  the  other 
left.  They  drive  round  to  avoid  the  gendarmes,  who  don't  like  to  see  two 
cabs  driving  together  at  odd  hours  to  the  duellist's  wood. 

"  And  this  is  the  end  of  it.  Those  two  trodden  plats  of  snow,  a  dead 
body  and  a  guilty  heart,  all  to  come  from  that  war  of  music  and  of  voices, 
that  deluge  of  shouts  and  laughter  and  screams,  that  whirl  of  feet-stamps, 
that  jostle  and  hell-pool  of  vicious,  leering  faces  and  wanton  eyes,  that 


17 


fog  and  eddy  of  colors  and  sound,  of  hot  patchouli,  of  rose,  of  frangipanni, 
of  muslin  and  ribbons,  of  fools,  goblins,  peasant  girls,  witches  and  monks — 
and  all  for  what? 

"  There  is  an  epitome  of  a  hundred  passionate  novels  in  this  painting, 
which  is  worthy  of  M.  Delaroche's  best  pupil. 

"  There  is  room  in  it  for  all  shades  of  painting,  from  the  speckle  of 
Teniers  to  the  willowy  sweep  of  Rubens.  There  is  room  for  Vernet's  im- 
petuosity and  M.  Gerome's  care. 

"  A  finer  moral  lesson  than  this  of  M.  Gerome's  has  not  been  taught  since 
Hogarth's  time." 


52 

MEISSONIER  (J.  L.  E.)  Paris 

Pupil  of  Cogniet. 
Medals,  1840-41-43-48. 
Legion  of  Honor,  1846. 
Grand  Medal  of  Honor  (E.  U.),  1855. 

Officer  of  Legion  of  Honoir,  1856. 
Member  of  the  Institute  of  France,  1861. 
Honorary  Member  of  the  R.  A.,  London. 
One  (if  the  eight  Grand  Medals  of  Honor  (E.  U.),  1867. 
Commander  of  the  Legion  of  Honor,  1867. 
Grand  Medal  of  Honor  (E.  U.),  1878. 
Born  1813.    Died,  1891. 

"  1814." 

9^  X  12^^ 

Gallery  of  Prince  Napoleon. 
Collection  Bouvent-Aubelot. 
Sale  of  Ruskin,  London,  1881. 
E.xposition  of  Works  of  Meissonier,  Paris,  1884. 
Dated  1862. 

Mounted  on  a  white  horse,  his  gray  overcoat  thrown  back  from  his 
uniform,  leaving  his  escort  behind  him,  Napoleon  has  ascended  a  knoll 
from  which  he  can  view  the  field  of  to-morrow's  battle. 

His  brow  is  thoughtful,  and  his  eyes  wander  beyond  the  ground  where 
the  game  of  his  destiny  is  to  be  played,  trying  as  it  were  to  read  the  future, ' 

The  sky  is  banked  with  heavy  clouds,  and  the  pale  sun  which  illumines 
it  is  no  longer  the  sun  of  Austerlitz. 


53 

PETTENKOFEN  (A.  von)  Vienna 

Pupil  of  Academy  of  Vienna. 
Chevalier  of  Order  of  Crown  of  Oak,  1873. 
Born,  1821.    Died,  1889. 

"  The  Market  of  Sznolnok,  Hungary." 

18^  X  10 

From  Collection  Gsell,  Vienna. 
From  Collection  Oeltzelt,  Vienna. 


18 


54 

VERNET  (Horace)  Paris 

Pupil  of  Vincent. 
Medals,  1812-55. 
Legion  of  Honor,  1814. 
Officer  of  the  Legion  of  Honor,  1825. 
Member  of  the  Institute  of  France,  1826. 
Director  of  the  French  Academy  at  Rome,  1828. 

Commander  of  the  Legion  of  Honor,  1842. 
Grand  Officer  of  the  Legion  of  Honor,  1842. 
Born,  1789.    Died,  1863. 

"  Italian  Brigands  Surprised  by  Papal  Troops." 

52x33 

From  Collection  of  Mr.  John  Taylor  Johnston,  New  York. 
Dated  1830. 

A  stirring  picture  by  this  great  master,  and  perhaps  the  most  notable 
and  faithful  representation  on  canvas  of  this  scourge  of  Italy,  which  has 
existed  even  in  the  present  centur}'-.  The  story  is  graphically  told;  the 
overturned  coach,  the  murdered  postilion,  the  captured  treasures,  the 
travelers  hurried  away  for  the  hope  of  a  future  ransom,  the  sudden  advent 
of  the  Papal  troops,  the  rush  of  their  attack,  their  partial  victory,  and  the 
strange  contradiction  of  the  brigands  appealing  to  the  Blessed  Virgin  for 
succor. 


55 

VICKERS   (Alfred)  London 

Born,  1786.    Died,  1868. 

"  Small  Landscape,  with  Windmill." 


56 

PLASSAN  (A.  E.)  Paris 

Medals,  1852-57-59. 
Medal,  Centennial  Exp.,  Phila.,  1870. 
Legion  of  Honor,  1859. 
Born,  1817.    Died,  1903. 

"  Disappointment." 

6x8 

From  the  Artist, 


19 


57 

BRETON  (Jules)  Paris 

Pupil  of  Devigne  and  Drolling. 
Medals,  1855-56-59-61. 
Medals,  London,  Vienna  and  Brussels. 
Legion  of  Honor,  1861. 
Modal  of  the  First  Class  and  Officer  Legion  of  Honor  at  the 
Universal  Exhibition,  1867. 
Medal  of  Honor,  Salon,  1872. 
Knight  of  the  Order  of  Leopold,  1881. 
Ribbon  of  St.  Stanislas,  of  Russia. 
Corresponding  Member  of  the  Academies  of  Vienna,  Stockholm 
and  Madrid. 
Member  of  the  Institute  of  France,  1886. 

"  The  Close  of  the  Day." 

19  X  25 

From  the  Artist. 
Dated  1865. 


58 

BRETON  (Jules)  Paris 

Pupil  of  Devigne  and  Drolling. 
Medals,  1855-57-59-61. 
Medals,  London,  Vienna  and  Brussels. 
Legion  of  Honor,  1861. 
Medal  of  the  First  Class  and  Officer  Legion  of  Honor  at  the 
Universal  Exhibition,  1867. 
Medal  of  Honor,  Salon,  1872. 
Knight  of  the  Order  of  Leopold,  1881. 
Ribbon  of  St.  Stanislas,  of  Russia. 
Corresponding  Member  of  the  Academies  of  Vienna,  Stockliolni 
and  Madrid. 
Member  of  the  Institute  of  France,  1886. 

"  Returning  from  the  Fields." 

41  X  27 

From  the  Morgan  Collection. 
Dated  1871. 


59 

TROYON  (C.)  Paris 

Pupil  of  Rivereaux. 

Medals,  1838-40-46-55. 
Legion  of  Honor,  1849. 
Born,  1810.    Died,  1865. 

"  Cattle  Drinking." 

21  X  31 

Collection  Viot. 

Exhibited,  1883,  in  Paris  as  one  of  the  "  Hundred  Masterpieces." 
Dated  1851. 

The  Sun,  though  hidden  by  clouds,  bathes  the  landscape  in  light,  and  the 
water  glistens  in  its  rays,  which  gilds  the  coats  of  the  animals ;  the  effect 
of  the  Sun  breaking  through  storm-clouds  is  rendered  with  incomparable 
artistic  skill. 

Alfred  Wolff. 

20 


60 


MUNKACSY  (Mihaly)  Paris 

Pupil  of  Diisseldorf  Academy. 
Medals,  1870-74. 
Legion  of  Honor,  1877. 
OflEicer  of  Legion  of  Honor,  1878. 
Clrand  Medal  of  Honor,  Exposition  Universel,  1878. 
Created  an  Austrian  Baron,  1882. 
Bom,  1844.     Died,  1900. 

"  The  Story  of  the  Battle." 

54x40 

From  the  Theo,  Eggers  Collection,  Vienna. 


61 

DUPRE  (Jules)  Paris 

Medals,  1833   (E.  U.)-1867. 
Legion  of  Honor,  1849. 
Officer  of  the  Legion  of  Honor,  1870. 
Bom,  1812.    Died,  1889. 

"  The  Old  Oak." 

24  X  28 


62 

DELACROIX  (Eugene)  Paris 

Pupil  of  GuOrin. 
Medals,  1824-48. 
Medal  of  Honor  (E.  U.),  1855. 
Legion  of  Honor,  1831. 
Officer,  1846. 
Commander,  1855. 
Member  of  the  Institute,  1857. 
Born,  1798,    Died,  1863. 

"  Christ  on  the  Cross." 

26x  33 

Salon  of  1847. 
Universal  Exposition.  1885. 
Bonnet  Collection. 
Fanien  Collection. 
Collection  Defoer. 
"  Hundred  Masterpieces  "  Exhibition,  Paris,  1883. 
From  Albert  Wolff's  Criticisms  on  "The  Hundred  Masterpieces." 
Dated  1846. 

"When  Delacroix  paints  the  magnificent  Christ  upon  the  Cross,  a  canvas 
which  appeared  as  one  of  the  capital  masterpieces  of  this  exhibition  which 
reckoned  so  many,  it  is  the  supreme  drama  which  inspires  him;  what  he 
desires  to  render  is  the  grand  crime  of  the  crucifixion,  and  not  the  crucified 
himself.  This  Son  of  God  is  not  the  traditional  Christ,  correctly  nailed 
to  the  Cross ;  it  is  the  visionary  apparition  bearing  testimony  against  relig- 


21 


ious  persecution,  the  Martyr  who  has  suffered  his  doom  and  whom  we  see 
across  the  dreadful  solitude,  which  is  the  image  of  his  abandonment.  He 
cares  little  to  paint  correctly  an  academic  study  according  to  the  routine 
formula;  what  he  wants  to  paint  is  the  grand  drama,  the  conclusive  moral 
impression ;  his  Christ  has  lived,  his  flesh  has  thrilled,  his  heart  has  bled 
in  truth ;  he  is  the  incarnation  of  all  martyrdom ;  of  consummate  crime  left 
in  the  midst  of  the  indifference  of  nature.  There  are  no  tears,  no  lamen- 
tations to  communicate  an  emotion ;  it  exhales  all  naturally  from  the  sole 
figure;  and  it  suffices  for  depicting  the  entire  horror  of  the  scene  and  for 
filling  the  soul  with  veneration  and  profoundest  pity.  This  is  the  effect 
of  art  in  its  loftiest  development,  art  whose  influence  is  terrifying  in  its 
simplicity,  and  thus  we  find  the  artist  in  all  his  works. 

"  The  controlHng  note  in  Eugene  Delacroix's  painting  is  the  dramatic 
note.  We  might  say  of  him  that  he  is  the  Shakspere  of  art ;  he  has  the 
great  author's  majesty  of  concession,  his  art  of  painting  a  character  in  a 
few  strokes,  and  his  power  of  color.  That  which  interests  him  is  the 
drama  of  all  epochs,  of  every  literature  and  of  every  place. 

"  What  Delacroix  occupies  himself  about,  what  moves  him,  is  the  drama." 


63 

ISABEY  (L.  G.  E.)    .      .  Paris 

Pupil  of  his  father. 
Medals,  1824-27-55  (E.  U.). 
Legion  of  Honor,  1832. 
Officer  of  the  Legion  of  Honor,  1852. 
Born,  1804.    Died,  1886. 

"  After  the  Storm." 

46  X  29 
Dated  1842. 


64 

DIAZ  (N.)  Paris 

Medals,  1844-46-48. 
Legion  of  Honor,  1851. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1807.    Died,  1876. 

"  Forest  of  Fontainebleau — Autumn." 

25x30 

Dated  1871. 


22 


65 

VAN  MARCKE  (E.)   Paris 

Pupil  of  Troy  on. 
Medals,  1867-69-70. 
Legion  of  Honor,  1872. 
Fiist-class  Medal  (E.  U.),  1878. 
Born,  1827.    Died,  1891. 

"  The  Pool." 

24  X  20 


66 

BAKER  (Geo.  A.),  N.  A  New  York 

Member  of  National  Academj-,  1851. 
Born,  1821.    Died,  1881. 

"  Portrait  of  the  Artist,  by  Himself." 

21  X  26 

From  the  Artist. 
Dated  1874. 


67 

HERBERT  (J.  R.)  London 

Born,  1810.    Died,  1882. 

"  Portrait  of  Hon.  W.  E.  Gladstone." 

30X  24 


68 

ELLIOTT  (C.  L.),  N.  A  New  York 

Pupil  of  Trumbull  and  Quidor. 
Academician  of  National  Academy- 
Born,  1812.    Died,  1868. 

"  The  Artist,  by  Himself." 

22  X  27 
From  the  Artist. 


69 

STONE  (Wm.  O.),  N.  A  New  York 

Academician  of  the  National  Academy,  1859. 
Born,  1830.    Died,  1875. 

"  Portrait  of  W.  W.  Corcoran." 

21  X  27 
From  the  Artist's  sale. 


23 


70 

ELLIOTT  (C.  L.),  N.  A  New  York 

Pupil  of  Trumbull  and  Quidor. 
Academician  of  National  Academy. 
Born,  1812.    Died,  1868. 

"  Portrait  of  A.  B.  Durand,  N.  A." 

21  X  26 
From  the  Artist. 


71 

VAN  DER  HELST  (Bartholomeus)  Amsterdam 

Born,  1601.    Died,  1670. 

"  Anna  Maria  Schurmann." 

26x34 

Anna  Maria  Schurmann  was  born  at  Cologne,  1607,  and  was  a  woman  of 
very  remarkable  intellectual  distinction. 


72 

SHEE  (iSirM.  A.),P.  R.  A.   .  Dublin 

President  Royal  Academy  in  1830. 
Born,  1770.    Died,  1850. 

"  Portrait  of  Miss  Moffat." 

36  X  27 


73 

BAKER  (Geo.  A.),  N.  A  New  York 

Member  National  Academy,  1851. 
Born,  1821.    Died,  1881. 

"  A  Portrait." 

22  X  27 

From  the  Artist. 
Dated  1873. 


74 

BONNAT  (Leon)  Paris 

Pupil  of  Oogniet. 
Medals,  1861-63-67. 
Legion  of  Honor,  1867. 
Medal  of  Honor,  1869. 
Officer  of  the  Legion  of  Honor,  1874. 
Member  of  the  Institute  of  France,  1881. 
Knight  of  the  Order  of  Leopold,  1881. 
Commander  of  the  Legion  of  Honor,  1882. 


24 


"  Portrait  of  the  Artist." 

23x27 

Painted  for  and  presented  to  Mr.  Walters  by  the  Artist. 
Dated  1885. 


75 

MULLER  (Chas.  L.)  

Pupil  of  Gros  and  Cogniet. 
Medals,  1838-46-48. 
Legion  of  Honor,  1849. 
Medal,  First  Class,  1855. 
Officer  of  Legion  of  Honor,  1859. 
Member  of  the  Institute  of  France,  1864. 
Born,  1815.    Died,  1892. 

"  A  Portrait." 

Oval,  19x23 

From  the  Artist. 
Dated  1852. 


76 

SCHREYER  (Ad.)  

Medal,  Bmssels,  1863. 
Cross  of  Order  of  Leopold,  1864. 
Medals,  Paris,  1864-65-67  (E.  U.),  Vienna  (E.  U.),  1873. 
Member  of  the  Academies  of  Antwerp  and  Rotterdam. 
Honorary  Member  of  the  Deutsches  Nochstift. 
Born,  1828.    Died,  1899. 

"  Embourbe — Plains  of  Hungary." 

78x46 

International  Exposition,  1873,  Vienna. 


77 

VAN  MARCKE  (E.)  

Pupil  of  Trovon. 
Medals,  1867-69-70 
Legion  of  Honor,  1872. 
First-class  Medal  (E.  U.),  1878. 
Born,  1827.    Died,  1891. 

"  The  Approach  of  the  Storm." 

78x57 

From  the  Artist. 
Salon,  1873. 
Dated  1873. 


25 


78 


GALLAIT    (Louis)  Brussels 

Pupil  of  Celothue  and  Hennequin. 
Medals,  1835-48. 
Legion  of  Honor,  1841. 
Chevalier  of  the  Order  of  the  Crown  of  Oak,  Holland. 
Honorary  Member  of  the  Royal  Academy,  London. 
Grand  Cordon  of  the  Order  of  Leopold,  1881. 
Member  of  the  Academy  of  Antwerp. 
Bom,  1810.    Died,  1888. 

"  Art  and  Liberty." 

26  X  34 

Collection  of  H.  D.  Hooft  van  Woudenberg  van  Geerestein. 
Dated  1859. 


79 

WILSON  (Jock)  London 

Bom,  1774.    Died,  1855. 

"A  Landscape." 

16x24 


80 

JACQUE  (Charles  Emile)  Paris 

Medals,  1861-63-64. 
Legion  of  Honor,  1867. 
Born,  1813.    Died,  1894. 

"  Chickens." 

10x7 

From  Felix  Ziem. 


81 

JACQUE  (Charles  Emile)  Paris 

Medals,  1861-63-64. 
Legion  of  Honor,  1867. 
Born,  1813.    Died,  1894. 

"Chickens." 

12x8 

From  the  Artist. 


26 


82 

CLAIRIN  (Georges)  Paris 

Pupil  of  Picot. 
Medals,  1882-85. 

Entering  the  Harem." 

25  X  32 

Collection  of  Mr.  John  Wolfe. 


83 

DELAROCHE  (Paul  Hippolyte)  Paris 

Pupil  of  Gros. 
Chevalier  of  the  Legion  of  Honor,  1828. 
Member  of  the  Institute  of  France,  1832. 
Professor  at  Beaux  Arts,  1833. 
Officer  of  the  Legion  of  Honor,  1834. 
Born,  1797.    Died,  1856. 

"  The  Hemicycle." 

100  X  16 
Dated  1853. 

"  L'Hemicycle  du  Palais  des  Beaux  Arts  "  is  the  title  given  in  France  to 
the  grand  composition  which  decorates  the  semicircular  wall  of  the  Am- 
phitheatre of  the  School  of  the  Fine  Arts  at  Paris. 

The  Academy  of  the  Fine  Arts  at  Paris  is  dedicated  to  the  study  and 
advancement  of  Painting,  Sculpture  and  Architecture,  and  it  will  be  well 
to  bear  in  mind  that,  besides  the  usual  Halls  for  exhibition  and  study,  and 
ample  accommodations  for  Professors  and  Students,  the  same  building 
comprises  a  very  fine  collection  of  Monuments,  architectural  and  sculptural, 
the  remains  of  Ancient  French  Art,  which,  after  the  ravages  of  the  first 
French  Revolution,  were  brought  together  by  M.  Lenoir  and  ultimately 
placed  within  these  walls.  On  entering  this  extensive  edifice,  and  after 
passing  through  the  three  open  quadrangular  courts,  we  ascend  by  a  flight 
of  steps  to  a  hall  or  amphitheatre,  destined  for  the  delivery  of  inaugural 
discourses  and  the  distribution  of  the  prizes  awarded  to  the  students.  The 
chairs  of  the  Professors  occupy  the  diameter  of  this  Jiall.  The  semicircular 
benches  for  the  students  are  in  front ;  beyond  and  around  them  extends  the 
semicircular  wall  (L'Hemicycle)  already  mentioned;  and  the  whole  is  well 
lighted  from  above. 

In  the  year  1837  it  was  suggested  to  the  Government  that  this  semicir- 
cular wall  should  be  decorated  with  some  appropriate  subject,  instead  of 
being  left  bare  or  of  one  uniform  color.  The  suggestion  was  followed  out 
by  the  Minister  of  the  Literior,  and  the  commission  was  given  to  M.  Paul 
Delaroche.  His  first  sketch,  which  comprised  not  more  than  twenty-four 
figures,  being  approved  of,  the  contract  was  signed. 

It  will  be  immediately  perceived  that,  on  the  part  of  the  artist,  these 
terms  have  not  been  strictly  adhered  to.    Inspired  with  a  noble  ambition  to 


27 


leave  behind  him  such  work  as  should  connect  his  name  honorably  with 
those  of  the  great  men  who  had  gone  before  him,  and  justify  the  choice 
of  his  country  and  the  general  applause  of  Europe  (for  his  was  already  a 
European  fame),  Delaroche,  while  adhering  to  his  first  conception,  gradu- 
ally enlarged  it,  till  the  twenty-four  figures  had  extended  to  seventy-five, 
and  after  nearly  four  years  of  incessant  study,  the  magnificent  composition 
as  we  now  behold  it  was  unveiled  to  an  impatient  public.  It  received  its 
due  meed  of  admiration  and  applause,  as  one  of  the  greatest,  if  not  the 
greatest,  of  the  productions  of  modern  times ;  and  it  is  proper  to  record 
that  on  its  completion  the  high-minded  artist  absolutely  refused  any  further 
remuneration  than  that  which  he  at  first  stipulated  for,  a  sum  which 
scarcely  repaid  the  cost  of  labor  and  material ;  the  thought  and  the  time 
were  given,  or  rather  were  munificently  consecrated,  to  art  and  to  his 
country. 

The  space  covered  by  the  painting  measures  not  less  than  fifty  feet  in 
length,  by  about  fifteen  in  height.  The  figures  in  front  are  colossal;  those 
farther  removed  are  life-size.  There  are  here  no  tricks  of  art  by  way  of 
enhancing  the  effect  of  some  figures  at  the  expense  of  others.  The  whole 
is  lighted  up  by  a  broad  daylight  from  above,  the  real  light  and  the  artificial 
light  being  the  same.  The  painting  is  in  oil ;  but  being  on  a  curved,  not  a 
flat  surface,  the  inconvenience  of  reflected  lights  is  avoided,  and  every  part 
is  equally  illuminated.  All  the  personages  are  still;  the  animation  is  in 
the  expression  and  attitude,  without  movement,  which  gives  to  the  multi- 
tude of  figures  a  sort  of  Elysian  repose  befitting  an  assemblage  of  beings 
who  belong  no  more  to  this  noisy,  changeable  world,  but  to  one  all-peaceful, 
all-divine. 

The  picture  upon  the  walls  of  the  "Beaux  Arts"  was  executed  under  the 
supervision  of  M.  Delaroche  by  himself  and  his  pupils.  Very  unfortunately, 
it  was  partly  destroyed  by  iire,  and  repaired  by  other  hands  without  his 
supervision.  The  work  before  us,  on  the  contrary,  was  touched  by  the 
brush  of  the  master  alone,  who  finished  it  with  such  care  and  with  such 
satisfaction  to  himself,  that  he  said:  "If  my  name  is  to  be  known  to 
posterity,  it  will  be  through  this  picture."  It  was  also  from  this  canvas  that 
Henriquel  Dupont  executed  his  great  engraving. 

The  subject,  as  conceived  by  the  painter,  is  the  distribution  of  the  prizes 
awarded  to  successful  talent  in  the  presence  of  an  assemblage  of  the 
greatest  artists  of  every  age  and  country,  from  the  era  of  Pericles  down 
to  that  of  Louis  XIV.  The  selection  of  personages,  where  only  a  certain 
number  could  be  introduced — the  arrangement  of  the  figures,  where  all 
were  to  be  placed  nearly  in  a  line — the  grouping  and  attitudes  of  the 
various  characters — presented  some  extraordinary  difficulties,  which  will 
be  fully  appreciated  by  every  one  who  has  reflected  on  the  principles  of  art, 
and  overcome,  it  must  be  allowed,  with  the  most  wonderful  judgment, 
taste  and  skill.  The  artist,  after  long  and  mature  consideration,  rejects  the 
formality  of  a  chronological  series,  and  that  sort  of  monotony  which  must 


28 


have  resulted  from  grouping  the  figures  into  separate  nations  and  schools. 
The  great  men  here  assembled  in  friendly  convocation  have  already  taken 
their  places  in  the  Temple  of  Immortality,  where  earthly  distinctions  of 
time  and  place  are  at  an  end.  Yet,  to  avoid  all  heterogeneous  confusion, 
they  were  to  be  linked  with  each  other,  united  in  the  fancy  of  the  spectator, 
and  associated  with  the  living  congregation  over  which  they  in  a  manner 
preside,  by  some  leading  idea,  which,  pervading  the  entire  composition, 
should  bring  into  harmonious  unity  the  multifarious  variety  of  figures, 
characters  and  costumes.  Before  entering  into  details,  it  is  worth  while 
to  consider  how  this  idea  has  been  carried  out,  and  with  what  admirable 
skill  the  scenic  disposition  of  the  subject  has  resolved  itself  into  one  great 
whole. 

The  background  represents  the  portico  of  a  great  temple  of  the  Ionic 
order,  which  may  be  regarded  as  the  temple  of  Fame  or  Immortality.  In 
the  centre,  in  a  species  of  recess,  is  placed  a  throne  or  tribunal,  with  an 
ascent  of  four  marble  steps.  On  this  throne  are  seated  Apelles,  the  painter 
(37)  ;  on  his  right  Ictinus,  the  architect  of  the  Parthenon  and  the  temple 
of  Phigalia  (36)  ;  on  his  left  the  sculptor  Phidias  (38).  These,  of  all  the 
figures,  are  the  most  removed  from  the  actual  scene,  and  seated  in  majestic 
quietude,  and  crowned  with  laurels,  they  appear  to  contemplate  the  assem- 
blage of  artists  over  which  they  preside  in  right  of  their  antique  fame. 

In  front  of  this  tribunal,  and  lower  down,  stand  four  female  figures, 
most  beautifully  and  wisely  introduced,  as  imparting  to  the  whole  com- 
position a  softer  grace  and  more  contrasted  variety  in  character  and  cos- 
tume than  would  otherwise  have  been  possible.  These  represent  collectively 
and  most  poetically  the  theory  of  art;  separately,  they  personify  the  four 
great  influences  which  have  successively  ruled  the  manifestations  of  the 
human  mind  as  developed  into  form  in  the  fine  arts.  First,  to  the  left  of 
the  spectators,  sits  Greek  Art  simply  draped,  in  calm  and  elegant  repose 
(35)  ;  opposite  to  her,  Roman  Art,  more  sternly  grave,  and  wearing  the 
diadem  of  Empire  (40).  Next  to  Greek  Art,  and  traditionally  allied  to  her, 
stands  a  lovely  figure  in  long  draper}^  at  once  graceful  and  decorous,  with 
eyes  upturned  and  looks  commercing  with  the  skies.  This  is  Gothic  or 
Mediaeval  Art,  inspired  by  the  purer  influences  of  Christianity;  beside  her 
stands  the  model  of  a  Gothic  Cathedral  (34).  In  face  and  figure  this 
charming  creation  is  said  to  be  the  portrait  of  the  artist's  wife,  the  beau- 
tiful daughter  of  Horace  Vernet.  Opposite  to  her,  in  strong  contrast, 
stands  a  figure  representing  that  period  of  art  which  we  call  the  Renais- 
sance, and  which,  almost  immediately  on  the  revival  of  classical  learning, 
superseded  the  religious  influences  of  the  middle  ages  (41).  Beautiful, 
bold,  half  undraped,  "robes  loosely  flowing,  hair  as  free,"  with  jeweled 
bracelets  on  her  full,  rounded  arms,  yet  with  a  sort  of  luxurious  grandeur 
in  the  pose  and  physiognomy,  she  well  represents  that  style  of  art  which 
Bramante,  Michael  Angelo,  Paul  Veronese  and  Rubens  carried  out  with 
such  a  prodigality  of  talent,  such  a  splendid  license.    In  front  of  this  most 


29 


beautiful  and  significant  group,  and  so  placed  as  not  to  interfere  with  them, 
is  a  half -kneeling  female  figure  representing  the  Genius  of  Fame  (34),  at 
her  side  a  heap  of  laurel  crowns,  which  she  seems  in  the  act  of  distributing 
to  the  successful  candidates. 

The  three  famous  old  Grecians  and  the  five  allegorical  female  figures 
compose  this  central  group — a  sort  of  vision  combining  the  real  and  ideal ; 
the  action  of  the  last-named  figure  connecting  the  whole  with  the  living, 
breathing  humanity  supposed  to  be  assembled  below;  and  the  four  alle- 
gorical figures  connecting  it  with  the  groups  which  extend  on  either  side. 
Some  of  these  personages  are  seated  behind  on  a  kind  of  marble  bench 
extending  in  front  of  the  portico,  and  others  are  standing  more  in  the  fore- 
ground. To  the  right  of  the  spectators  are  assembled  the  famous  Archi- 
tects ;  opposite  to  them,  on  the  left,  the  most  celebrated  Sculptors.  Beyond 
these  again,  on  either  side,  appear  the  greatest  painters  who  have  flourished 
from  the  revival  of  art  to  the  seventeenth  century.  On  the  right  those 
who  were  eminent  as  designers,  and  who  founded  their  art  on  the  study 
of  human  character  and  the  principles  of  human  form.  On  the  left,  we  find 
assembled  those  Painters  who  were  most  remarkable  as  colorists,  whose 
art  was  founded  on  the  appearance  of  general  Nature,  the  efifects  of  light 
and  shade,  and  the  aspects  of  social  life.  Such  is  the  original  and  truly 
magnificent  conception  of  the  artist,  and  such  the  distribution  of  his  subject 
considered  as  a  whole. — Mrs.  Jameson. 


84 

RIVIERE  (Briton),  R.  A  London 

Member  of  the  Royal  Academy. 

"  Syria— The  Night  Watch." 

65  X  37 
Dated  1880. 

Syria  is  a  country  of  high  historic  and  sacred  interest.  Take  it  in  its  full 
extent — including  Palestine — and  no  country  in  the  world  can  be  com- 
pared with  it. 

As  much  as  any  nation  is  now,  Phoenicia,  a  province  of  Syria,  was, 
"  thirty  centuries  ago,"  "  the  mistress  of  the  seas."  Merchants  of  every 
nation  met  and  traded  in  her  rich  marts.  She  was  also  the  cradle  of 
manufacture.  Tyrian  purple  was  the  garb  and  symbol  of  royalty  in  every 
land,  and  Homer  tells  us  before  his  day  a  Sidonian  robe  was  considered  a 
gift  of  sufficient  splendor  to  propitiate  the  angry  patron  goddess  of  Troy 
(II.  vi.  288). 

Damascus,  the  capital  of  Syria,  is  confessedly  the  oldest  city  in  the  world, 
and  Antioch,  another  capital,  was  the  third  city  of  the  Roman  Empire ; 
and  here,  eighteen  centuries  ago,  the  name  we  bear,  and  in  which  we 
glory — the  name  Christian — was  invented. 


30 


No  country  of  an5rthing  like  its  extent  has  passed  through  so  many 
political  changes  and  vicissitudes  as  Syria. 

Some  of  the  ruins  of  Syria,  in  their  massive  proportions  and  architectural 
splendor,  rank  among  the  finest  in  the  world. 

Besides  the  general  ruin  and  decay  of  the  country  as  presented  in  its 
present  aspect,  of  the  ancient  great  cities  of  Syria,  no  less  than  nine  are 
now  completely  desolate — namely,  Apamea,  Laodicea-ad-Libanum,  Seleucia, 
Pieria,  Orthosia,  Area,  Chalcis,  Phaeno,  Bozrah,  and  Salcha ;  eight  have 
dwindled  down  to  poor  and  miserable  villages — namely,  HeHopolis,  Pal- 
myra, Tyre,  Arodus,  Riblah,  Gebal,  Edree  and  Kenath. 

Antioch,  the  capital  in  the  age  of  Roman  splendor,  Sidon,  the  ancient 
capital  of  Phoenicia,  and  Hamath,  one  of  the  primeval  strongholds  of  the 
Canaanites,  are  now  small,  decaying  towns. 


85 

MILLAIS  (Sir  John  Everett),  P.  R.  A  London 

Member  of  the  Royal  Academy. 
Medal,  1855. 
President,  1896. 
Medal  of  Honor  and  Legion  of  Honor  at  the  E.  U.,  1878. 
Born,  1829.    Died,  1896. 

"  News  from  Home." 

10  X  13 


86 

ALMA-TADEMA  (L.),  R.  A  London 

Pupil  of  Leys. 
Medals,  Paris,  1864-67. 
Member  of  the  Royal  Academy,  Amsterdam. 
Knight  of  the  Order  of  Leopold. 
Knight  of  the  Order  of  the  Dutch  Lion. 
Knight  of  the  Order  of  Merit  of  St.  Michael  of  Bavaria. 
Member  of  the  Roj'al  Academy  of  Munich. 
Legion  of  Honor,  1873. 
Grand  Gold  Medal,  Berlin,  1874. 
Member  of  the  Royal  Academy  of  Berlin. 
Member  of  the  Society  of  Painters  in  Water  Colors. 
Knight  of  the  Gold  Lion  of  the  House  of  Nassau. 
Knight  of  the  Koenigliche  Kronen-Orden  of  Prussia. 
Honorarj^  Professor,  Royal  Institute  of  Fine  Arts,  Naples. 
Medal,   Exposition  Universel,  1878. 
Officer  of  the  Legion  of  Honor,  1878. 
Member  of  the  Royal  Academy,  London. 
Order  of  Merit,  Berlin,  1881. 
Corresponding-  Member  Academy  Beaux  Arts,  1881. 

"  My  Sister  is  Not  In." 

12^  X  l6 

Royal  Academy,  1880. 
Opus  CCX. 


2 


31 


87 

MILLET  (J.  F.)   Paris 

Pupil  of  P.  Delaroche. 
Medals,  1853-64  (E.  U.)-67. 
Legion  of  Honor,  1868. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Bom,  1814.    Died,  1875. 

"  Breaking  Flax." 

i5x  i8 

From  the  Henry  Wallis  Collection,  London. 


88 

SCHREYER  (Ad.)  Paris 

Medals,  1864-65  (E.  U.)-67. 
Vienna  Exposition,  1873. 
Medal,  Brussels,  1863. 
Cross  of  Order  of  Leopold,  1864. 
Member  of  the  Academies  of  Antwerp  and  Rotterdam. 
Honorary  Member  of  the  Deutsches  Nochstift. 
Born,  1828.    Died,  1899. 

"  A  Cold  Day." 

27  X  19 


89 

HENNER  (J.  J.)  Paris 

Pupil  of  Drolling. 
Prize  of  Rome,  1858. 
Medals,  1863-65-66-78  (E.  U.). 
Legion  of  Honor,  1873. 
Officer  of  the  Legion  of  Honor,  1878. 

"  The  Nymph." 

8x  10 


90 

ISABEY  (L.  G.  E.)  Paris 

Pupil  of  his  father. 
Medals,  1824-27-55  (E.  U.). 
Legion  of  Honor,  1832. 
Officer  of  the  Legion  of  Honor,  1852. 
Born,  1804.    Died,  1886. 

"  Departure  of  Elisabeth  of  France  for  Spain." 

2o>4  X  27 


32 


91 

JALABERT  (Chas.  F.)  Paris 

Pupil  of  Delaroche. 
Medals,  1847-51-53-55  (E,  U.)-67  (E.  U.). 
Legion  of  Honor,  1855. 
OflBcer  of  Legion  of  Honor,  1867. 
Born,  1819.    Died,  1901. 

"  Italian  Girl." 

9x  15 

From  the  Artist. 


92 

DETAILLE  (Edouard)  Paris 

Pupil  of  Meissonier. 
Medals,  1869-70-72. 
Legion  of  Honor,  1873. 
Officer  of  the  Legion  of  Honor,  1881. 
Died,  1912. 

"  The  Picket." 

15x18 

Dated  1875. 


93 

DE  NEUVILLE  (A.)  Paris 

Pupil  of  Picot. 
Meda]s,  1859-61. 
Legion  of  Honor,  1873. 
Officer  of  Legion  of  Honor,  1881. 
Born,  1836.    Died,  1885. 

"  Information." 

12x18 

Dated  1876. 


94 

ELLIOTT  (C.  L.),  N.  A. 

Pupil  of  Trumbull  and  Quidor. 
Academician  N.  A. 
Born,  1812.    Died,  1868. 

"  Portrait  of  Chief  Justice  Taney." 


33 


95 

YVON   (A.)  Paris 

Pupil  of  Paul  Delaroche. 
Medals,  1848-55  (E.  U.)-57-67  (E.  U.). 

Legion  of  Honor,  1855. 

Medal  of  Honor,  1857. 
Officer  of  the  Legion  of  Honor,  1867. 

Bom,  1817.    Died,  1893. 

"  Portrait  of  Napoleon  III." 

l8x2I 
Dated  1868. 

"This  portrait  head  of  Napoleon  III  was  painted  from  life  by  Yvon  for 
his  celebrated  picture  of  the  *  Battle  of  Solferino.' " 


96 

MARILHAT  (Prosper)  Paris 

Pupil  of  Roqueplan. 
Bom,  1811.    Died,  1847. 

"  Landscape  with  Mosque/' 

21  J/^  X  19 


97 

THAULOW   (Fritz)  Norway 

"  Landscape,  River  and  Bridge."  ( 

33  X  40 


98 

REYNOLDS  (Sir  Joshua),  P.  R.  A. 

Pupil  of  Thomas  Hudson. 
First  President  Royal  Academy,  1768. 
Knighted,  1768.    Exhibition  Royal  Academy,  1768-89. 
Born,  1723,    Died,  1784. 

"  The  Strawberry  Girl." 

30  X  26 


34 


99 

CABANEL  (A.)   .  Paris 

Pupil  of  Picot. 
Prize  of  Rome,  1845. 
Medals,  1852  (E.  U.)-55. 
Legion  of  Honor,  1855. 
Member  of  the  Institute  of  France,  1863. 
Officer  of  the  Legion  of  Honor,  1864. 
Grand  Medal  of  Honor,  1865,  and  (E.  U.),  1867. 
Commander  of  the  Legion  of  Honor,  1878. 

Gran.d  Medal  of  Honor  (E.  U.),  1878. 
Professor  in  the  School  of  the  Beaux  Arts. 
Born,  1823.    Died,  1888. 

"  Pandora." 
"  Portrait  of  Mile.  Nilsson." 

20  X  29 

From  the  Artist. 
Dated  1873. 


100 

FROMENTIN  (E.)  Paris 

Pupil  of  Cabat. 
Medals,  1849-57-59  (E.  U.)-67. 
Legion  of  Honor,  1859. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Born,  1820.    Died,  1876. 

"  At  the  Well." 

8  X  10 

Dated  1875. 


101 

ELLIOTT  (C.  L.),  N.  A  New  York 

Pupil  of  Trumbull  and  Quidor. 
Academician  of  the  National  Academv. 
Born,  1812.    Died,  1868. 

"  Anthony  van  Corlear." 

10  X  12 

From  the  Ranney  Sale,  New  Vork. 
Dated  1852. 


102 

KURZBAUER  (E.)  Munich 

Pupil  of  Piloty. 
Born,  1846.    Died,  1870. 

"  The  Dispute." 

25X  17 

Dated  1877. 


35 


103 

HART  (Jas.  M.),  N.  A  New  York 

Academician  of  National  Academy. 
Born,  1828.    Died,  1901. 

"  Adirondacks." 

35x20 

From  the  Artist. 
Dated  1859. 


104 

VAN  MARCKE  (E.)  Paris 

Pupil  of  Troyon. 
Medals,  1867-69-70. 
Legion  of  Honor,  1872. 
First-class  Medal  (E.  U.),  1878. 
Bom,  1827.    Died,  1891. 

"  Cow— (Bright  Sunlight)." 

27  X  19 

From  the  Collection  of  Mr.  John  Wolfe,  New  York. 


105 

VILLEGAS  (Josef)  Rome 

"  Cairo— The  Slipper  Merchant." 

25X  19 

From  the  W.  T.  Blodgett  Collection,  New  York. 
Dated  1872. 


106 

JALABERT  (Chas.  R)  Paris 

Pupil  of  Delaroche. 
Medals,  1847-51-53-55  (E.  U.)-67  (E.  U.). 
Legion  of  Honor,  1855. 
Officer  of  the  Legion  of  Honor,  1867. 
Born,  1819.    Died,  1901. 


The  Morning. 

8^x13 

From  the  Artist. 
Dated  1863. 


107 

VILLEGAS  (Josef)  Rome 

"  Poultry  Market— Tangier." 
14X  21 


36 


108 

CALAME  (Alex.)  Geneva 

Pupil  of  Diday, 
Medals,  1839-40. 
Member  of  the  Academies  of  St.  Petersburg  and  Brussels. 
Legion  of  Honor,  1842. 
Born,  1810.    Died,  1864. 

"  The  Jungfrau,  Switzerland." 

41x33 

From  the  Collection  of  the  Due  de  Morny,  Paris. 
Dated  1858. 


109 

VAN  MARCKE  (E.)  Paris 

Pupil  of  Troyon. 
Medals,  1867-69-70. 
Legion  of  Honor,  1872. 
First-class  Medal  (E.  U.),  1878. 
Born,  1827.    Died,  1891. 

"  Study  from  Nature." 

26  X  22 
From  the  Artist. 


110 

DELACROIX  (Eugene)  Paris 

Pupil  of  Gu6rin. 
Medals,  1824-48. 
Medal  of  Honor  (E.  U.),  1855. 
Legion  of  Honor,  1831. 
Officer,  1846. 
Commander,  1855. 
Member  of  the  Institute,  1857. 
Born,  1798.    Died,  1863. 

.    "  King  John  at  Poictiers." 

21  X25^ 
Centennial  Exposition  French  Art,  1889. 


Ill 

SCHEFFER  (Ary)  Paris 

Pupil  of  Gu6rin. 
Grand  Prize  for  Painting  at  Antwerp,  1816. 
Legion  of  Honor. 
Born,  1795.    Died,  1858. 

"  Christ  Weeping  over  Jerusalem." 

28x42 

Dated  1851. 

And  when  He  was  come  near  He  beheld  the  city,  and  wept  over  it.— Luke  xix,  41. 


37 


112 


INNESS  (George)  New  York 

Pupil  of  Regis  Gignoux. 
Member  National  Academy  Design. 
Medal,  Paris  E.  U.,  1889. 
Medal,  Munich  International  Ex.,  1892. 
Medal,   Chicago  Internatl.   Ex.,  1893. 
Born,  1825.    Died,  1894. 

"  The  Valley  of  the  OHves." 

45  X  30 

From  the  R.   H.   Halsted  Collection. 
Dated  1867. 


113 

GEROME  (J.  L.)  Paris 

Pupil  of  Delaroche. 
Medals,  1847-48  (E.  U.)-55. 
Legion  of  Honor,  1855. 
Member  of  the  Institute  of  France,  1865. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  1867. 
Officer  of  the  Legion  of  Honor,  1867. 
Grand  Medal  of  Honor,  1874. 
Commander  of  the  Legion  of  Honor,  1878. 
Medal  Sculpture  (E.  U.),  1878. 
Grand  Medal  of  Honor  (E.  U.),  1868. 
Professor  in  the  School  of  Beaux  Arts. 
Born,  1824.    Died,  1904. 

"  Christian  Martyrs— The  Last  Prayer." 

59x34 

Painted  1863-1883. 


Paris,  July  15,  1883. 

My  Dear  Sir  : — I  send  you  a  few  notes  about  my  picture,  "  The  Christian 
Martyrs — Last  Prayer,"  which  you  have  bought.  I  regret  to  have  made 
you  wait  for  it  so  long,  but  I  had  a  difficult  task,  being  determined  not  to 
leave  it  until  I  accomplished  all  of  which  I  was  capable. 

This  picture  has  been  upon  my  easel  for  over  twenty  years.  I  have 
repainted  it  from  the  beginning  three  times ;  have  rehandled  and  rechanged 
both  the  effect  and  the  composition,  always,  however,  preserving  my  first 
idea. 

This,  therefore,  is  really  the  third  canvas  which  you  receive. 

The  scene  is  laid  in  the  "  Circus  Maximus,"  which  might  readily  be  mis- 
taken for  an  amphitheatre,  as  in  the  picture  only  the  end  of  the  circus,  and 
not  the  straight  sides,  is  visible.  But  you  will  see  on  the  left  the  "  Meta," 
which  ends  the  "Spina,"  and  is  the  goal  around  which  the  chariots  made 
their  turns  in  the  races,  as  I  have  indicated  by  the  tracks  of  the  wheels  in 
the  sand. 


38 


The  Circus  Maximus  was  one  of  the  mightiest  monuments  ever  built. 
It  held  more  than  one  hundred  and  fifty  thousand  spectators.  Its  left 
touched  the  Palace  of  the  Caesars,  whence  a  subterranean  passage  led 
directly  to  the  Emperor's  loge. 

In  the  time  of  the  Csesars,  Christians  were  cruelly  persecuted,  and  many 
were  sentenced  to  be  devoured  by  wild  beasts. 

This  is  the  subject  of  my  picture. 

As  they  were  religious  enthusiasts,  to  die  was  a  joy,  and  they  cared  Httle 
for  the  animals,  their  only  thought  being  to  remain  firm  to  the  last.  And 
rarely  indeed  was  there  found  a  case  of  apostasy. 

The  Roman  prisons  were  terrible  dungeons,  and  Christians,  being  often 
long  confined  before  the  sacrifice,  when  led  into  the  circus  were  emaciated 
by  disease  and  covered  only  with  rags.  Their  hearts  alone  remained  strong, 
their  faith  alone  remained  unshaken. 

In  the  middle  distance  I  have  placed  those  destined  to  be  burned  alive. 
They  were  usually  tied  upon  crosses,  and  smeared  with  pitch  to  feed  the 
flames.  Alluding  to  this,  Tacitus  says :  "  These  Christians  should  cer- 
tainly be  put  to  death ;  but  wherefore  smear  them  with  pitch,  and  burn 
them  like  torches?"   His  sympathy,  however,  went  no  further. 

It  was  the  custom  to  starve  the  wild  beasts  for  several  days  beforehand, 
and  they  were  admitted  to  the  arena  up  incHned  planes.  Coming  from  the 
dark  dens  below,  their  first  action  was  of  astonishment  upon  facing  the 
bright  daylight  and  the  great  mass  of  people  surrounding  them. 

They  did  then  as  does  to-day  the  Spanish  bull  when  turned  into  the 
arena ;  entering  with  a  bound  he  suddenly  halts  in  the  very  middle  of  a 
stride. 

This  moment  I  have  sought  to  represent. 

I  consider  this  picture  one  of  my  most  studied  works,  the  one  for  which 
I  have  given  myself  most  trouble. 
Is  it  a  success? 

Very  truly, 

(Signed)       J.  L.  Gerome. 


114 

DIAZ   (N.)         .       .       .       .'  Paris 

Medals,  1844-46-48. 
Legion  of  Honor,  1851. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universe],  1878. 
Bora,  1807.    Died,  1876. 

"  Cupid  Disarmed." 

15  X  26 


39 


115 


MILLET  (J.  F.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1853-64  (E.  U.)-67. 
Legion  of  Honor,  1868. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universal,  1878. 
Born,  1814.    Died,  1875. 

"  The  Potato  Harvest." 

25  X  21 


116 

ACHENBACH  (Andreas)  Dusseldorf 

Pupil  of  Schirmer. 
Medals,  1839-55-67. 
Legion  of  Honor,  1864. 
Knight  of  the  Order  of  Leopold. 
Member  of  the  Berlin,  Antwerp  and  Amsterdam  Academies. 

"  Clearing  Up— Coast  of  Sicily." 

44x32 

From  old  Diisseldorf  Gallery. 
Dated  1847. 


117 

FORTUNY  (Mariano)  Rome 

Pupil  of  the  Barcelona  Academy, 
Chevalier  of  Order  of  Charles  IH. 
Prize  of  Rome  from  Spain,  1858. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Born,  1838.    Died,  1874. 

"  Hindoo  Snake  Charmers." 

Attended  by  the  "  Marabout,"  a  sacred  bird  of  India.  1 

49x23 

A.  T.  Stewart  Collection. 
Dated  1869. 


118 

DE  NEUVILLE  (A.)  Paris 

Pupil  of  Picot. 
Medals,  1859-61.' 
Legion  of  Honor,  1873. 
Officer  of  Legion  of  Honor,  1881. 
Born,  1836.    Died,  1885. 

"  In  the  Trenches." 

From  the  Henry  Wallis  Collection,  London. 
Dated  1874. 


40 


119 


GALLAIT  (Louis)  Brussels 

Pupil  of  Celothue  and  Hennequin. 
Medals,  1835-48. 
Legion  of  Honor,  1841. 
Grand  Cordon  of  Order  of  Leopold,  1881. 
Chevalier  of  Order  of  Crown  of  Oak. 
Honorary  Member  Royal  Academy. 
Member  of  Academy  of  Antwerp. 
Born,  1810.    Died,  1888. 

"  Peace." 

32  X  46 

Royal  Academy,  1872. 
Dated  1872. 


120 

DUPRE  (Jules)  Paris 

Medals,  1833  (E.  U.)-67. 
Legion  of  Honor. 
Officer  of  the  Legion  of  Honor,  1870. 
Born,  1812.    Died,  1889. 

"  Sunset— On  the  Coast." 

23  X  29 


121 

DIAZ  (N.)  Paris 

Medals,  1844-46-48. 
Legion  of  Honor,  1851. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1807.    Died,  1876. 

"The  Storm." 

34  X  23 

Dated  1872. 


122 

DURAND  (A.  B.)  New  York 

Original  Member  National  Academy,  1826. 
President  National  Academy,  1845-61. 

"  The  Catskills." 

50  X  62 

From  the  Artist. 
Dated  1859. 


41 


123 

LEYS  (Baron  H.)  Antwerp 

Medal,  1846. 
Chevalier  of  the  Order  of  Leopold. 
Chevalier  of  the  Legion  of  Honor,  1847. 
(>rand  Medal  of  Honor,  1855. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  1867. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel.  1878. 
Born,  1815.    Died,  1869. 

"  Edict  of  Charles  V." 

92  X  54 

From  Collection  of  Count  Liederkirke,   for  whom  it  was  painted. 
U,   Exposition,  1867. 
Dated  1859. 

The  publication  of  the  Edict  of  Charles  V  in  the  year  1550,  which  in- 
troduced the  Inquisition  into  the  Netherlands. 


By  this  edict,  or  "  placard,"  as  it  was  called,  it  was  ordained  that  all  who 
were  convicted  of  heresy  should  suffer  death  by  fire,  by  the  pit,  or  by  the 
sword — in  other  words,  should  be  burnt  alive,  be  buried  alive,  or  be  be- 
headed. These  terrible  penalties  were  incurred  b}^  all  who  dealt  in  heretical 
books,  or  copied  or  bought  them ;  by  all  who  held  or  attended  conventicles, 
by  all  who  disputed  on  the  Scriptures  in  public  or  private,  by  all  who 
preached  or  defended  the  doctrines  of  the  Reformation.  Informers  were 
encouraged  by  the  promise  of  one-half  of  the  confiscated  estate  of  the 
heretic.  No  suspected  person  was  allowed  to  make  any  donation,  or  sell 
any  of  his  effects,  or  dispose  of  them  by  will.  Finally,  the  courts  were 
instructed  to  grant  no  remission  or  mitigation  of  punishment  under  the 
fallacious  idea  of  mercy  to  the  convicted  party — and  it  was  made  penal  for 
the  friends  of  the  accused  to  solicit  such  indulgence  on  his  behalf, 

Fmm  Ppescott's  History  of  the  Reign  of  Philip  II,  Book  II,  Oliap.  I. 

This  edict  was  renewed  by  an  ordinance  of  Philip  II,  dated  at  Gand, 
August  20,  1556. 


This  picture  was  painted  by  Leys  after  his  second  journey  to  Germany, 
at  his  best  period,  one  year  before  he  began  the  decoration  of  the  Hotel 
de  Ville  at  Antwerp,  and  was,  for  the  first  time,  exhibited  at  the  National 
Exhibition  of  Antwerp  in  1861. 

The  scene  is  the  public  market-place.  In  the  midst  of  the  crowd  stands 
a  herald  holding  in  his  hands  the  fatal  notice.  He  is  escorted  by  men-at- 
arms,  and  by  the  sovereign's  representatives  in  judicial  and  administrative 
matters.  Farther  off  can  be  seen  "  the  long  stick,"  the  presence  of  which 
was,  according  to  the  custom  of  the  country,  necessary  to  sanction  any 
criminal  measure.  In  the  foreground,  on  the  left,  is  a  bookseller's  shop, 
the  painter  wishing  to  draw  attention  to  the  strict  measures  fettering  the 
printers. 


42 


124 

GALLAIT   (Louis)  Brussels 

Pupil  of  Celothue  and  Hennequin. 
Medals,  1835-48. 
Legion  of  Honor,  1841. 
Grand  Cordon  of  the  Order  of  Leopold,  1881. 
Chevalier  of  Order  of  Crown  of  Oak. 
Honorary  Member  Royal  Academy. 
Member  of  Academy  of  Antwerp! 
Born,  1810.    Died,  1888. 

"  War." 

32x46 

Royal  Academy,  1872. 
Dated  1872. 


125 

CLAYS  (P.  J.)  Brussels 

Medal  (E.  U.),  1867. 
Legion  of  Honor,  1875. 
Chevalier  of  the  Order  of  Leopold. 
Medal,  Exposition  Universel,  1878. 
Officer  of  Legion  of  Honor,  1881. 
Born,  1819.    Died,  1900. 

"  Moonlight  in  Holland." 

23  X  28 


126 

FROMENTIN  (E.)  Paris 

Pupil  of  Cabat. 
Medals,  1849-57-59  (E.  U.)-67. 
Legion  of  Honor,  1859. 
Officer  of  the  Legion  of  Honor,  1869. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Univei-sel.  1878. 
Born,  1^0.    Died,  1876. 

"  The  Halt." 

25  X  20 

From  Collection  of  M.  Lepel  Cointet,  Paris. 
Dated  1872. 


127 

VAUTIER  (B.),  deed  Dusseldorf 

Pupil  of  Jordan. 
Medals,  1865-66-67  (E.  U.)-78  (E.  U.). 
Legion  of  Honor,  1878. 
Medals  at  Berlin. 
Member  of  the  Academies  at  Berlin,  Munich,  Antwerp  and 
Amsterdam. 

"  Consulting  his  Lawyer." 

27  X  22 

From  the  Collection  of  Dr.  Strauss,  Vienna. 
Dated  1872. 


43 


128 


DAUBIGNY  (C.  F.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1848-53-55-57-59-67. 
Legion  of  Honor,  1859. 
Officer  of  the  Legion  of  Honor,  1874. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Bom,  1817.    Died,  1878. 

"  Twilight." 

32  X  18 

From  John  Taylor  Johnston  Collection,  New  York. 
Dated  1866. 


129 

BOUGHTON  (G.  H.),  A.  R.  A.  London 

Member  of  the  National  Academy  of  Design. 
Associate  of  the  Royal  Academy. 

"  The  Waning  Honeymoon." 

30x20 

From  the  Artist. 
Royal  Academy,  1878. 
Dated  1878. 

Mr.  Boughton  says  in  a  letter  to  Mr.  Walters :  "  A  young  pair  are 
seated  under  a  tree — late  autumn,  the  big  leaves  all  about — he  is  reading  a 
book  and  carelessly  caressing  his  dog;  and  she  is  pouting  prettily,  but 
thinking  no  pretty  things  of  him." 

130 

TURNER  (J.  M.  W.)  London 

Associate  of  the  Royal  Academy. 
Born,  1775.    Died,  1851. 

"  The  Wreck." 

28  X  36 

Collection  C.  F.  Beckett,  Hadley  Wood,  Essex. 


131 

GEROME  (J.  L.)  '   .      .  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1847-48  (E.  U.)-55. 
Legion  of  Honor,  1855. 
Member  of  the  Institute  of  France,  1865. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  18G7. 
Officer  of  the  Legion  of  Honor,  1867. 
Grand  Medal  of  Honor,  1874. 
Commander  of  the  Legion  of  Honor,  1878. 

Medal  Sculpture  (E.  U.),  1878. 
Grand  Medal  of  Honor  (E.  U.),  1878. 
Professor  in  the  School  of  the  Beaux  Arts. 
Born,  1824.    Died,  1904. 


44 


"  Diogenes." 

39x28 

From  Collection  of  Mr,  August  Belmont,  New  York. 
Dated  1860. 


132 

TURNER  (J.  M.  W.)  London 

Associate  of  the  Royal  Academy. 
Born,  1775.    Died,  1851. 

"Grand  Canal  (Venice)." 

36x24 


133 

HEBERT  (A.  A.  E.)   .  Paris 

Pupil  of  P.  Delaroche. 
Prize  of  Rome,  1839. 
Medals,  1851-55  (E.  U.)-67  (E.  U.). 

Legion  of  Honor,  1853. 
Officer  of  the  Legion  of  Honor,  1867. 
Commander  of  the  Legion  of  Honor,  1874. 
Member  of  the  Institute  of  France,  1874. 
Grand  Prix  1889  (E.  U.). 

"  Going  to  the  Well." 

16  X  27 

From  Collection  of  M.  Gavet,  Paris. 


134 

GALLAIT  (Louis)  Brussels 

Pupil  of  Celothue  and  Hennequin. 
Medals,  1835-48. 
Legion  of  Honor,  1841. 
Chevalier  of  the  Order  of  the  Crown  of  Oak,  Holland. 
Honorary  Member  of  the  Royal  Academy,  London. 
Grand  Cordon  of  the  Order  of  Leopold,  1881. 
Member  of  Academy  of  Antwerp. 
Born,  1810.    Died,  1888. 

"  Power  of  Music." 

17  X  22 

From  the  Artist. 
Painted  1860. 

Gallait,  writing  to  Mr.  Walters  under  date  of  July  20,  i860,  says :  "  In 
sending  you  my  picture  *  Oblivion  of  Sorrows,'  I  think  it  advisable  to 
furnish  you  with  a  few  explanations  for  the  understanding  of  the  subject 
and  of  the  sentiment  which  I  intended  to  express.  After  a  weary  day  of 
travel,  two  young  musicians,  brother  and  sister — and  orphans — have  stopped 
to  rest  near  an  ancient  tomb.    The  young  girl,  weak  and  sickly,  her  feet 


45 


lacerated  and  bleeding,  reclines  upon  the  knees  of  her  brother ;  he  has  taken 
his  violin,  the  tones  of  which,  assuaging  the  sorrow  of  the  young  girl,  are 
lulling  her  to  sleep.  So  much  for  my  subject.  The  moment  is  that  in 
which  the  brother,  filled  with  anxiety,  his  eyes  fixed  on  his  sister,  per- 
ceives with  joy  that  her  burning  and  fevered  eyeHds  are  ceasing  to  quiver, 
an  indication  of  the  sleep  which  brings  with  it  oblivion  of  all  grief,  mental 
and  physical. 

"  I  hope,  sir,  that  this  little  picture  does  not  fall  far  below  what  you 
desire.  I  have  spared  neither  care  nor  work  with  that  object,  having  put 
into  requisition  two  things  which  were  in  my  power,  my  will  and  my 
conscience." 

135 

DUPRE  (Jules)  Paris 

Medals,  1833  (E.  U.)-67. 
Legion  of  Honor,  -1849. 
Officer  of  the  Legion  of  Honor,  1870. 
Born,  1812.    Died,  1889. 

"  At  Sea.'* 

33  X  22 


136 

SCHREYER  (Ad.)   Paris 

Medals,  1864-65   (E.  U.)-67. 
Vienna  Exposition,  1873. 
Medal,  Brussels,  1863. 
Cross  of  the  Order  of  Leopold,  1864. 
Member  of  Academies  Antwerp  and  Rotterdam. 
Honorary  member  of  the  Deutsches  Nochstift. 
Born,  1828.    Died,  1899. 

"  Arabs  in  Egypt — Sunrise." 

28  X  i6 

Probasco  Collection. 
Dated  1867. 


137 

ROUSSEAU  (Theo.)  Paris 

Pupil  of  Lethiere. 
Medals,  1834-49-55. 
Legion  of  Honor,  1852. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  1867. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1812.    Died,  1867. 

"  Early  Summer  Afternoon." 

29  X  21 

Probasco  Collection. 


46 


138 


ZIEM  (Felix) 


Medals,  1851-52-55. 
Legion  of  Honor,  1857. 
Born,  1821.    Died,  1910. 

"  Sunset— South  of  France." 

46x33 

From  the  Collection  of  Mr.  .J.  Strieker  .Jenkins,  Baltimore. 


Paris 


PREYER  (J.  W.) 


139 


Pupil  of  Diisseldorf  Academy. 
Born,  1803.    Died,  1889. 

"Still  Life." 

12  X  14 

From  the  Artist. 
Dated  1859. 


Diisseldorf 


WILLEMS  (Florent) 


140 


Medals,  1844-46-55-67  (E.  U.). 

Medals  at  Brussels,  1843. 
Chevalier  of  Order  of  Leopold. 

Legion  of  Honor,  1858. 
Officer  of  Order  of  Leopold,  1855. 
Officer  of  Le^on  of  Honor,  1864. 
First-class  Medal,  Exposition  Universel,  1878. 

"  The  Important  Response." 

14  X  28 


Paris 


141 

STEVENS  (Alfred)  Paris 

Gold  Medal  at  Brussels,  1851. 
Paris,  1853-55-67  (E.  U.). 
Legion  of  Honor,  1863. 
Officer  of  the  Legion  of  Honor,  1867. 
Commander  of  the  Order  of  Leopold. 
First-class  Medal,  Exposition  Universel,  1878. 
Grand  Officer  of  the  Order  of  Leopold,  1881. 
Born,  1817.    Died,  1875. 

i  "  Palm  Sunday." 

[  10x13 

142 

WOODVILLE  (R.  C.)  Baltimore 

\  Born,  1825.    Died,  1856. 

'  "  The  Sailor's  Wedding." 

22  X  16 

Dated  1852. 
47 


143 

VAN  MARCKE  (E.)  Paris 

Pupil  of  Troyon. 
Medals,  1867-69-70. 
Legion  of  Honor,  1872. 
First-class  Medal  (E,  U.),  1878. 
Bom,  1827.    Died,  1891. 

"  Early  Morning." 

19  X  24 


144 

LEYS   (Baron  H.)      .  Antwerp 

Medal,  1846. 
Chevalier  of  the  Order  of  Leopold. 
Chevalier  of  the  Legion  of  Honor,  1847. 
Grand  Medal  of  Honor,  1855. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  1867. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Bom,  1815.    Died,  1869. 

"  Dutch  Interior." 

1 1  X  14^ 


145 

DIAZ  (N.)  Paris 

Medals,  1844-46-48. 
Legion  of  Honor,  1851. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Bora,  1807.    Died,  1876. 

"  The  Assumption." 

lO^^xisH 

Dated  1850. 


146 

CABANEL  (A.)  Paris 

Pupil  of  Picot. 
Prize  of  Rome,  1845. 
Medals,  1852  (E.  U.)-55. 
Legion  of  Honor,  1855. 
Member  of  the  Institute  of  France,  1863. 
Officer  of  the  Legion  of  Honor,  1864. 
Grand  Medal  of  Honor,  1865,  and  (E.  U.),  1867. 
Commander  of  the  Legion  of  Honor,  1878. 

Grand  Medal  of  Honor  (E.  U.),  1878. 
Professor  in  the  School  of  the  Beaux  Arts. 
Born,  1823.    Died,  1888. 

"  Napoleon  III." 

13  X  17 


48 


147 

CHURCH  (F.  E.),  N.  A  New  York 

Academician  of  the  National  Academy. 
Member  of  Society  of  American  Artists. 
Medal  at  Paris  (E.  U.),  1867. 
Born,  1826.    Died,  1900. 

"  Morning  in  the  Tropics." 

14  X  8 

From  the  Ranney  Sale,  New  York. 


148 

FORTUNY  (Mariano)  Rome 

Pupil  of  the  Barcelona  Academy. 
Chevalier  of  Order  of  Charles  III. 
Prize  of  Rome  from  Spain,  1858. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1838.    Died,  1874. 

"  The  Rare  Vase." 

9^  X  13 

From  the  Morgan  Collection. 
Dated  1870. 


149 

MEISSONIER  (J.  L.  E.)  Paris 

Pupil  of  Cogniet. 
Medals,  1840-41-43-48. 
Legion  of  Honor,  1846. 
Grand  Medal  of  Honor  (E.  U.),  1855. 

Officer  of  Legion  of  Honor,  1856. 
Member  of  the  Institute  of  France,  1861. 
Honorary  Member  of  the  R.  A.,  London. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  18(57. 
Commander  of  the  Legion  of  Honor,  1867. 
Grand  Medal  of  Honor  (E.  U.),  1878. 
Born,  1813.    Died,  1891. 

"  The  End  of  a  Game  of  Cards." 

6x8^ 

Wm.  H.  Stewart  Collection. 


150 

FORTUNY  (Mariano)  Rome 

Pupil  of  the  Barcelona  Academy. 
Chevalier  of  Order  of  Charles  III. 
Prize  of  Rome  from  Spain,  1858. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1838.    Died,  1874. 

"  An  Ecclesiastic." 

5x7 


49 


151 


MEISSONIER  (J.  L.  E.)  

Pupil  of  Cogniet. 
Medals,  1840-41-43-48. 
Legion  of  Honor,  1846. 
Grand  Medal  of  Honor  (E.  U.),  1855. 

Officer  of  Legion  of  Honor,  1856. 
Member  of  the  Institute  of  France,  1861. 
Honorary  Member  of  the  R.  A.,  London. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  1867. 
Commander  of  the  Legion  of  Honor,  1867. 
Grand  Medal  of  Honor  (E.  U.),  1878. 
Bom,  1813.    Died,  1891. 

"  The  Jovial  Trooper." 

8  X  10 

Dated  1865. 

152 

COROT  (J.  B.  C.)  

Pupil  of  V.  Bertin. 
Medals,  1838-48-55-67  (E.  U.). 
Legion  of  Honor,  1846. 
Officer  of  the  Legion  of  Honor,  1867. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Born,  1796.    Died,  1875. 

"  Landscape  with  Bridge." 

II  X  17 

153 

MILLET  (J.  F.)   , 

Pupil  of  P.  Delavoche. 
Medals,  1853-64  (E.  U.)-67. 
Legion  of  Honor,  1868. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1814.    Died,  1875. 

*'  La  Baigneuse." 

i6  X  19. 


154 

COROT  (J.  B.  C.)  

Pupil  of  V.  Bertin. 
Medals,  1838-48-55-67  (E.  U.). 
Legion  of  Honor,  1846. 
Officer  of  the  Legion  of  Honor,  1867. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1796.    Died,  1875. 

"  The  Evening  Star." 

35  X  28 

From  the  Artist, 


50 


155 


ACHENBACH  (Andreas)  Diisseldorf 

Pupil  of  Schirmer. 
Medals,  1839-55-67. 
Legion  of  Honor,  1864. 
Knight  of  Order  of  Leopold. 
Member  of  the  Berlin, ^Antwerp  and  Amsterdam  Academies. 

"  Windy  Day  at  Schevening." 

32x33 

From  the  John  Wolfe  Collection,  New  York. 
Dated  1870. 


156 

PUVIS  DE  CHAVANNES  (P.). 


Medals,  1861-64-67  (E.  U.). 
Medal  of  Honor,  1882. 
Legion  of  Honor,  1867.    Officer,  1877.  Commander. 


Hope." 

38  X  50 


157 

ZIEM  (Felix)  Paris 

Medals,  1851-52-55. 
Legion  of  Honor,  1857. 
Born,  1821.    Died,  1908. 

"  Morning." 

21  X  17 


158 

ZIEM   (Felix)  Pari.s 

Medals,  1851-52-55. 
Legion  of  Honor,  1857. 
Bom,  1821.    Died,  1908. 

"  Evening." 

21  X  17 

No.  30  is  dated  1868. 
From  the  Artist. 


51 


159 

ALMA-TADEMA  (L.),  R.  A   .  London 

Pupil  of  Leys, 
Member  of  the  Royal  Academy,  Amsterdam,  1863. 
Medal  at  the  Salon,  Paris,  1864. 
Knight  of  the  Order  of  Leopold  (Belgium),  1866. 
Second-class  Medal  at  the  International  Exposition,  Paris,  1867. 
Knight  of  the  Order  of  the  Dutch  Lion,  1868. 
Knight,  First  Class,  of  the  Order  of  Merit  of  St.  Michael, 
Bavaria,  1869. 
Member  of  the  Royal  Academy  of  Munich,  1871. 
Knight  of  the  Order  of  the  Legion  d'Honneur,  France,  1873. 
Grand  Gold  Medal,  Berlin,  1874. 
Member  of  the  Royal  Academy  of  Berlin,  1875. 
Member  of  the  Society  of  Painters  in  Water  Colors,  London. 
Knight  of  the  Third  Class,  Lion  d'Or  of  the  House  of  Nassau, 
1876. 

Knight  of  the  Third  Class  of  the  Koenigliche  Kronen-Orden  of 
Prussia,  1877. 

Honorary  Professor  of  the  Royal  Institute  of  Fine  Arts,  Naples, 
1878. 

First-class  Medal  at  the  International  Exhibition,  Paris,  1878. 
Officer  of  Legion  of  Honor,  1878. 
Royal  Academician,  1879. 
Order  of  Merit,  Berlin,  1881. 
Corresponding  Member  Academy  des  Beaux  Arts,  1881. 

"  Sappho." 

47  X  26 

Opus  CCXXIII. 
From  the  Artist. 
Royal  Academy,  1881. 


London  Academy,  May  7,  1881. 

The  picture  which  seems  to  me  to  secure  the  most  complete  and  satisfy- 
ing effect  of  beauty  is  the  Sappho  of  Mr.  Alma-Tadema.  The  model  of 
Mr.  Tadema's  invention  is  so  entirely  individual  that  it  would  be  difficult 
to  define  with  any  approach  to  precision  the  class  to  which  his  work 
belongs.  On  occasions  when  he  has  undertaken  to  treat  the  human  form 
upon  the  scale  of  life,  he  has  not  always  shown  a  preference  for  the  highest 
type  of  beauty;  nor  do  the  characteristic  excellences  of  his  refined  and 
delicate  workmanship  appear  to  full  advantage  in  the  covering  of  large 
surfaces  of  canvas.  But  there  is  a  temptation  to  forget  whatever  limita- 
tions his  art  may  own  in  the  keen  enjoyment  which  such  a  picture  as  the 
Sappho  awakens.  Here,  at  least,  the  wonderful  resources  of  his  brush  are 
employed  upon  material  which  they  can  easily  command.  Mr.  Tadema 
stands  almost  alone  among  artists  who  are  fascinated  by  the  beauty  of 
antique  life,  in  the  strong  feeling  for  outward  nature  which  he  imports 
into  his  design.  His  color,  whether  of  flesh  or  costume,  always  lives  in 
sunlight;  and  the  forms  that  people  the  scenes  of  his  invention  take  an 
added  beauty  from  the  charm  of  the  landscape  that  surrounds  them.  There 
have  been  few  artists  of  any  time  who  have  so  skillfully  combined  this 
sentiment  of  landscape  with  the  severe  definition  of  form.  The  results  of 
wide  archaeological  knowledge  are,  in  his  case,  so  lightly  borne  that  they 
mingle  without  any  sense  of  conflict  with  the  fruits  of  direct  observation  of 


52 


nature.  Mr.  Tadema's  painting  has  always  the  note  of  absolute  vitality. 
I  speak  now  not  of  individual  forms  or  faces,  but  of  the  work  as  a  whole, 
of  the  quality  of  the  coloring,  of  the  actual  touches  of  the  brush.  In  the 
extreme  minuteness  of  much  of  his  execution  he  contrives  to  preserve 
admirable  breadth  of  light  and  shade  with  an  unimpaired  strength  and  force 
in  the  local  tints.  There  is  a  certain  audacity  in  the  manner  of  his  inven- 
tion which  enables  him  to  carry  his  regard  for  the  vivid  beauty  of  Nature 
into  scenes  and  subjects  that  would,  at  first  sight,  seem  to  reject  any  kind 
of  realistic  treatment.  The  brilliant  fairness  of  white  marble,  the  intense 
blue  of  a  sapphire  sea  or  a  southern  sky — these  are  among  the  natural 
realities  that  would  seem  to  have  fixed  themselves  in  his  imagination. 
They  have  grown  familiar  in  his  work;  but  their  reappearance  produces 
no  sense  of  fatigue,  for  they  are  imagined  for  us  with  unfailing  sympathy 
and  power.  In  this  respect  the  Sappho  is  perhaps  the  most  characteristic, 
as  it  is  certainly  among  the  most  complete,  of  Mr.  Tadema's  productions. 
The  invention  of  the  scene  as  a  whole,  the  disposition  of  the  figures,  the 
choice  of  attitude  and  gesture,  are  in  the  highest  degree  representative  of 
a  style  of  art  that  has  something  more  than  the  dignity  of  genre,  with 
something  less  than  the  formality  of  purely  ideal  design,  recalling  for  us 
the  long-silent  life  of  the  past  in  language  that  has  a  familiar  and  homely 
accent,  and  preserving  the  vivid  impression  of  Nature  even  in  the  most 
elaborate  attempts  to  reconstruct  a  vanished  civilization. 

J.  CoMYNS  Carr. 

Saturday  Review. 
The  scene  is  one  of  the  isles  of  Greece,  where  the  "  burning "  poetess 
loved  and  sung,  perhaps  the  Island  of  Lesbos,  where  Alcseus  himself  flour- 
ished 600  years  before  the  Christian  era.  The  whole  front  of  the  canvas 
is  occupied  by  the  orchestra  of  a  white  marble  theatre  on  a  height  over- 
looking the  sea;  on  the  left  are  the  concave  seats  in  double  tier,  each 
inscribed  with  the  name  of  its  owner,  and  in  the  centre  the  head  of  the  steps 
that  lead  up  to  it  from  the  shore;  beyond  is  a  small  grove  of  olive  trees, 
between  whose  trunks  is  seen  the  deep  blue-green  expanse  of  the  sea ;  and 
in  the  distance,  on  the  extreme  right,  is  a  purple  headland.  The  marble  of 
the  theatre  is  treated  in  a  most  astonishing  manner ;  it  has  a  solidity  which 
seems  almost  too  faithful;  the  veins  in  the  hewn  seats,  the  yellowish  dis- 
coloration at  the  edge  of  the  joints,  the  stains  of  wind  and  weather,  are 
depicted  with  surpassing  skill.  The  rich,  translucent  white  of  the  marble, 
the  gray-green  foliage  of  the  olives,  and  the  deep,  glowing  hue  of  the  sea. 
form  a  scheme  of  color  of  the  loveliest  kind  in  which  to  set  the  figures  of 
the  poetess,  her  attendants  and  the  poet.  Sappho  is  seated  on  one  of  the 
lowest  seats  of  the  semicircular  theatre ;  at  her  side  stands  one  of  her 
maidens,  wreathed  with  flowers,  and  before  her,  on  a  bronze  pedestal,  rests 
a  laurel  wreath.  The  poetess  leans  forward  and  gazes  intently  on  Alcseus, 
who  is  seated  facing  her  on  a  chair  of  wood,  striking  the  chords  of  his  lyre. 


53 


The  attendants  of  Sappho  are  grouped  on  the  marble  seats,  some,  Hke  their 
mistress,  intent  on  the  rhythm  of  the  poet's  song,  others  careless  of  it, 
while  one  red-haired  girl  leans  back  with  outspread  arms  on  the  upper  row 
of  seats  and  gazes  seaward,  thinking  apparently  of  some  one  who  lives  on 
yonder  distant  shore  and  sings  as  sweetly  for  her. 

London  Athenaeum,  April  30,  1881. 
Mr.  Alma-Tadema's  contributions  are  positively  splendid,  and  his  chief 
picture  will  long  be  remembered  by  those  who  see  it.  In  brilliancy  of 
illumination  and  purity  of  coloration,  grace  of  design  and  careful  finish,  to 
say  nothing  of  fine  rendering  of  apt  and  animated  attitudes  and  expressions, 
Sappho  has  hardly  a  rival,  and  certainly  not  a  superior,  among  his  works. 
The  poetess  is  seated  at  a  desk  placed  in  front  of  the  centre  of  an  amphi- 
theatre of  marble  benches,  while  in  the  middle  of  the  chord  which  extends 
between  the  horns  of  the  arc  of  the  amphitheatre  is,  half  seated,  half  re- 
clining, a  lyre  in  his  hands,  Alcseus  the  poet.  The  ardor  of  composition 
pervades  his  dark,  energetic  face,  and  he  looks  intently  and  abstractedly 
forward,  while  his  fingers  sweep  slowly  yet  passionately  the  strings  of  the 
lyre  which  rests  in  his  lap.  His  skin  is  of  pale  gold-brown,  exquisitely  set 
ofif  by  the  delicate  rose-colored  robe  which  falls  easily  about  him.  The 
object  of  the  poet  is  to  enlist  Sappho's  support  in  a  political  scheme  of 
which  he  is  a  leader,  if  not  the  chief  prophet,  and  he  has  come  to  her 
"  school "  in  Lesbos  with  the  hope  of  securing  another  voice  and  other 
songs  to  advocate  the  views  of  his  party.  We  have  thus  depicted  a  political 
as  well  as  poetical  flirtation  between  two  of  the  greatest  lyric  poets  of 
antiquity. 


160 

TROYON  (C.)  Paris 

Pupil  of  Rivereaux. 
Medals,  1838-40-46-55. 
Legion  of  Honor,  1849. 
Born,  1810.    Died,  1865. 

"  Repose." 

34  X  22 


161 

GOYA  Y  LUCIENTES  (F.  J.  DE)  Spain 

Born,  1746.    Died,  1828. 

"  The  Procession." 

25  X  34 


54 


162 

BECKER  (Carl)  Berlin 

Pupil  of  Von  Klober,  Hess  and  Cornelius. 
Medals,  Berlin,  Vienna  and  Munich. 
Vice-President  and  Professor  Academy,  Berlin. 
Member  Academies,  Berlin  and  Vienna. 
Member  Royal  Society  Letters  and  Fine  Arts  of  Belgium. 
OflBcer  of  Order  of  Leopold. 
Medal,  1861. 
Bom,  1817.    Died,  1878. 

"  The  Petition  to  the  Doge." 

41x51 

From  the  W.  H.  Webb  Collection,  New  York. 
Dated  1860. 

163 

DAUBIGNY  (CP.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1848-53-55-57-59-67. 
Le^on  of  Honor,  1859. 
Officer  of  the  Legion  of  Honor,  1874. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
t  Universel,  1878. 

Bom,  1817.    Died,  1878. 

"  The  Coming  Storm— Early  Spring." 

27  X  17 
Dated  1874. 

164 

COROT  (J.  B.  C.)  Paris 

Pupil  of  V.  Bertin. 
Medals,  1838-48-55-67  (E.  U.). 
Legion  of  Honor,  1846. 
Officer  of  the  Legion  of  Honor,  1867. 
Diploma  to  the  memory  of  deceased  artists,  E.xposition 
Universel,  1878. 
Born,  1796.    Died,  1875. 

"  The  Fisherman's  Cottage." 

25x31 

165 

ALMA-TADEiMA  (L.),  R.  A  London 

Pupil  of  Leys. 
Member  of  the  Roval  Academy,  Amsterdam,  1863. 

Medal  at 'the  Salon,  Paris,  1864. 
Knight  of  the  Order  of  Leopold  (Belgium),  1866. 
Second-class  Medal  at  the  International  Exposition,  Paris,  1867. 
Knight  of  the  Order  of  the  Dutch  Lion,  1868. 
Knight,  First  Class,  of  the  Order  of  Merit  of  St.  Michael  of 
Bavaria,  1869. 
Member  of  the  Royal  Academy  of  Munich,  1871. 
Knight  of  the  Order  of  the  Legion  d'Honneur,  France,  1873. 
Grand  Gold  Medal,  Berlin,  1874. 
Member  of  the  Royal  Academy  of  Berlin,  1875. 
Member  of  the  Society  of  Painters  in  Water  Colors,  London. 
Knight  of  the  Third  Class,  Lion  d'Or  of  the  House  of  Nassau, 
1876. 

Knight  of  the  Third  Class  of  the  Koenigliche  Kronen-Oi-den  of 
Prussia,  1877. 


55 


Honorary  Professor  of  the  Royal  Institute  of  Fine  Arts, 
Naples,  1878. 

First-class  Medal  at  the  International  Exhibition,  Paris,  1878. 
Officer  of  Legion  of  Honor,  1878. 
Royal  Academician,  1879. 
Order  of  Merit,  Berlin,  1881. 
Corresponding  Member  Academy  des  Beaux  Arts,  1881. 

"  A  Roman  Emperor — Claudius." 

68x33 

From  the  Artist. 
E.   U.,  1878. 
Dated  1871. 

"  When  the  Praetorian  soldiers  had  killed  Caligula,  his  family  and  the 
members  of  his  household,  they  were  afraid  an  emperor  would  be  thrust 
upon  them  by  the  Senate.  To  ascertain  whether  any  of  the  Imperial  family 
had  not  been  forgotten,  they  returned  to  the  palace  the  next  day,  and 
discovered  Claudius  hidden  behind  a  curtain.  They  carried  him  off  to 
their  camp  on  Mount  Aventinus  and  proclaimed  him  emperor,  to  the 
bewilderment  of  all  the  world.  He  was  the  first  emperor  who  had  to  pay 
the  soldiers  for  his  election ;  it  was  the  beginning  of  the  end." 

Of  this  picture  Blackwood's  Magazine  says :  "  And  rising  to  a  tragedy 
little  short  of  sublime  is  the  scene  of  the  Emperor  Caligula  lying  murdered 
on  the  ground,  while  the  Praetorian  guard  pay  mock  homage  to  Claudius, 
found  agonized  with  terror  behind  a  curtain.  The  painter's  realism  here 
serves  him  well.  Less  naturalistic  artists  may  suggest  and  shadow  forth ; 
but  in  this  terror-moving  situation  the  eye  looks  on  the  very  deed." 

From  the  London  Times. 

"  Besides  those  features  of  which  we  have  spoken — his  positiveness  and 
his  loyalty  to  the  subjects  where  his  great  learning  may  find  free  scope — 
he  has  certain  distinctive  qualities  as  a  painter  without  which  neither  a 
turn  for  realism  nor  a  mastery  of  archaeology  would  have  carried  him  very 
far.  He  has,  first,  extraordinary  dramatic  power ;  he  knows  what  situation 
will  best  sum  up  a  whole  history,  and  by  what  grouping  of  incidents  and 
accessories  that  situation  may  be  best  conveyed.  He  wishes,  for  instance, 
to  paint  *  the  beginning  of  the  end '  of  the  Roman  Empire,  and,  with  a  true 
instinct,  he  seizes  on  the  moment  when  Caligula  has  been  slain  by  the 
soldiery,  and  when  Claudius,  miserably  hiding  for  his  life,  is  discovered 
and  brought  out  to  be  proclaimed  emperor  by  the  will,  not  of  the  people, 
but  of  the  guards.  That  is  a  scene  which  embodies  an  epoch;  and  what 
pictorial  possibilities  it  has !  The  Praetorians,  the  bowing  women,  the 
officer  who  has  found  the  ghastly,  shrinking  fugitive  and  who  bends  to  the 
ground  before  him  with  half-ironical  obeisance;  the  fugitive  himself,  and 
all  the  splendors  of  the  palace — here,  indeed,  are  the  elements  of  a  picture. 
But  to  do  them  justice  requires  nothing  less  than  Mr.  Tadema's  second 
artistic  gift — ^that  of  extraordinary  technical  power,  the  power  which  be- 
longs to  him  pre-eminently  as  a  painter.  His  draughtsmanship  is  strong 
and  masterly." 


56 


166 

SAINT-JEAN  (Simon)  •  Paris 

Pupil  of  Francois  Lepage. 
Medals,  1834-41-55. 
Legion  of  Honor,  1843. 
Bom,  1812.    Died,  1860. 

"  Still  Life." 

i8x  14 

Dated  1852. 


167 

ZIEM   (Felix)  Paris 

Medals,  1851-52-55. 
Legion  of  Honor,  1857. 
Bom,  1821.    Died,  1910. 

"  Midday." 

23  X  17 


168 

SAINT-JEAN  (Simon)  Paris 

Pupil  of  Frangois  Lepage. 
Medals,  1834-41-55. 
Legion  of  Honor,  1843. 
Born,  1812.    Died,  1860. 

"  Still  Life/' 

18x14 

Dated  1852. 


169 

WEEKS  (Edwin  Lord)  Boston 

Born,  1849.    Died,  1903. 

"  Interior  of  g  Mosque." 

55x69 


170 

MAX  (Gabriel)  Germany 

"  The  Raising  of  the  Daughter  of  Jairus." 

26  X  32 


57 


171 

STUART  (Gilbert)  Rhode  Island 

Pupil  of  West. 
Born,  1755.    Died,  1828. 
Went  to  England  in  1772  and  1775,  where  he  studied  under  West  and  painted  many  por- 
traits, including  one  of  Sir  Joshua  Reynolds. 

"  Portrait  of  Washington." 

24  X  30 

Well  known  as  having-  belonged  to  the  collection  of  Robert  Gilmor  of  Baltimore,  for 
whom  it  was  painted. 


172 

MERLE   (Hugues)  Paris 

Pupil   of  Cogniet. 
Medals,  1861-63. 
Legion  of  Honor,  1866. 
Born,  1822.    Died,  1881. 

"  The  Scarlet  Letter." 

32  X  39 

From  the  Artist. 
Dated  1861. 


173 

BONNAT  (Leon)   Paris 

Pupil  of  Cogniet. 
Medals,  1861-63-67. 
Legion  of  Honor,  1867. 
Medal  of  Honor,  1869. 
Officer  of  the  Legion  of  Honor,  1874. 
Member  of  the  Institute  of  France,  1881. 
Knight  of  the  Order  of  Leopold,  1881. 
Commander  of  the  Legion  of  Honor,  1882. 

"  An  Arab  Sheik." 

27  X  23 


174 

LEE  (F.  R.),  R.  A  London 

Royal  Academician. 
Born,  1798.    Died,  1879. 

"  A  Landscape." 

17x24 


175 

THAULOW  (Fritz)   Norway 

"  Landscape,  Village  on  the  Bank  of  a  Stream." 

26  X  32 


58 


176 

BEECHEY  (Sir  William),  R.  A  London 

Born,  1753.    Died,  1839. 

"  Portrait  of  Lady  Clinton." 

13x11 


177 

DIAZ  (N.)  Paris 

Medals,  1844-46-48. 
Legion  of  Honor,  1851. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1807.    Died,  1876. 

"  Fete  Galante,  XVIII  Siecle." 

8x8 


178 

MULLER  (C.  Leopold),  dec'd  Vienna 

Professor  of  the  Academy  of  Fine  Arts,  Vienna. 

"  Holy  Babe." 

5x7 


179 

DEGAS  Paris 

Study,  Head  of  Middle-Aged  Woman." 

11x9 


180 

CONSTABLE  (John),  R.  A  London 

Born,  1776.    Died,  1837. 

"  Landscape  with  Windmill." 

9x12 


181 

HARPIGNIES  (Henri)  Paris 

Medals,  1866-68-69-78  (E.  U.). 
Legion  of  Honor,  1875.    Officer,  1883. 
Member  of  the  Society  of  French  Artists. 

"  Landscape." 

II  X  14 


59 


182 

ROTTA  (Ant.)   .  Venice 

Third-class  Medal,  1878  (E.  U.). 

"  The  Hopeless  Case." 

20  X  25 

From  Collection  of  M.  Oeltzelt,  Vienna. 
Dated  1871. 

183 

STEVENS  (Alfred)  Paris 

Gold  Medal  at  Brussels,  1851. 
Paris,  1853-55-65  (E.  U.). 
Legion  of  Honor,  1863. 
Officer  of  the  Legion  of  Honor,  1867. 
Commander  of  the  Order  of  Leopold. 
First-class  Medal,  Exposition  Universel,  1878. 
Grand  Officer  of  the  Order  of  Leopold,  1881. 
Bom,  1817.    Died,  1875. 

"  News  from  Afar." 

16  X  24 


184 

GLEYRE  (Charles)   P^iris 

Pupil  of  Hersent. 
Medals,  1843-45. 
Never  exhibited  after  1848. 
Bom,  1807.    Died,  1874. 

"  Lost  Illusions." 

59  X  34 

From  the  Artist. 

Gleyre's  diary  gives  an  interesting  description  of  how  and  where  this 
conception  first  came  to  him:  "It  was  on  the  21st  of  March,  1835,  during 
a  beautiful  twilight  on  the  Nile,  abreast  of  Abydos.  The  sky  was  so  pure, 
the  water  so  calm,  that,  after  the  brain  excitement  to  which  I  had  aban- 
doned myself  all  the  day,  it  would  have  been  difficult  for  me  to  have  said 
whether  I  was  sailing  on  the  stream  or  through  the  air's  infinite  space.  As 
I  turned  toward  the  setting  sun,  I  thought  I  saw,  in  fact  I  did  see,  a  bark 
most  happy  in  form,  in  which  were  a  group  of  angels,  clothed  with  such 
elegance  and  posed  in  such  calm  and  noble  attitudes  that  I  was  enchanted. 
Insensibly  they  approached,  and  I  was  able  to  distinguish  their  voices; 
they  chanted  a  chorus  of  divine  music.  The  bark  stopped  just  beyond  a 
cluster  of  palms  planted  on  the  bank.  The  sparkling  surface  of  the  river 
repeated  so  exactly  these  charming  objects  that  they  seemed  double. 
Never  during  my  life  will  I  forget  it.  The  triple  harmony  of  form,  color 
and  sound  was  complete."  Eight  years  later  he  transferred  this  vision  to 
the  canvas. 


60 


185 

RICO  (M.)  Paris 

Medals,  1878  (E.  U.). 
Legion  of  Honor,  1878. 

"  Gathering  Oranges,  Toledo." 

29  X  16 


186 

DELACROIX  (Eugene)  Paris 

Pupil  of  Gugrin. 
Medals,  1824-48. 
Medal  of  Honor  (E.  U.),  1855. 
Legion  of  Honor,  1831. 
Officer,  1846. 
Commander,  1855, 
Member  of  the  Institute,  1857. 
Bom,  1798.    Died,  1863. 

"  Jesus  on  the  Sea  of  Galilee." 

29  X  24 

Collection  Viot. 
"  Hundred  Masterpieces "  Exhibition,  Paris.  1883. 
Dated  1856. 


Matthew,  Chapter  viii,  verses  23  to  26. 

And  when  Jesus  was  entered  into  a  ship,  his  disciples  followed  him. 

And,  behold,  there  arose  a  great  tempest  in,  the  sea,  insomuch  that  the 
ship  was  covered  with  the  waves ;  but  he  was  asleep. 

And  his  disciples  came  to  him,  and  awoke  him,  saying,  Lord,  save  us; 
we  perish! 

And  he  saith  unto  them.  Why  are  ye  fearful,  O  ye  of  little  faith?  Then 
he  arose,  and  rebuked  the  winds  and  the  sea ;  and  there  was  a  great  calm. 


187 

KNAUS  (Prof.  L.),  dec'd  Berlin 

Pupil  Dtisseldorf  Academy. 
Medals,  1853-55  (E.  U.)-57-59. 
Legion  of  Honor,  1859. 
Grand  Medal  of  Honor  (E.  U.),  1867. 
Officer  of  Legion  of  Honor,  1867. 
Medal,  Vienna,  1882.    Medal,  Munich,  1883. 
Professor  in  the  Academy,  Berlin. 

"  The  Truant." 

18  X  23 


61 


188 

JALABERT  (Chas.  F.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1847-51-53-55  (E.  U.)-67  (E.  U.). 
Legion  of  Honor,  1855. 
Officer  of  Legion  of  Honor,  1867. 
Born,  1819.    Died,  1901. 

"  The  Christian  Martyr." 

l8x2I 


189 

GERICAULT  (J.  L.  A.  T.)   Paris 

Pupil  of  Carle  Vernet  and  Guerin. 
BoiTi,  1791.    Died,  1824. 

"  Riderless  Racers  at  Rome." 

i8  X  23 

190 

DETAILLE  (Edoiiard)   Paris 

Medals,  1869-70-72. 
Legion  of  Honor,  1873.    Officer,  1881. 
Medal  of  Honor,  1888. 
Grand  Prix,  1889  (E.  U.). 
Member  of  the  Institute,  1892. 
Died,  1912. 

"  The  Camp  Barber." 

14  X  10 
Dated  1876. 


191 

FORTUNY  (Mariano)   .  Rome 

Pupil  of  the  Barcelona  Academy. 
Chevalier  of  Order  of  Charles  IH. 
Prize  of  Rome  from  Spain,  1858. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Bom,  1838.    Died,  1874. 

"  Arab  Fantasia." 

27  X  20 
Dated  1857. 

192 

COROT  (J.  B.  C.)     .      .      .      .      .      .      .      .      .      .  Paris 

Pupil  of  V.  Bertin. 
Medals,  1838-48-55-67  (E.  U.). 
Legion  of  Honor,  1846. 
Officer  of  the  Legion  of  Honor,  1867. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born.  1796.    Died,  1875. 


62 


"  The  Martyrdom  of  St.  Sebastian." 

48x96 

Salon,  1853. 
Universal  Exposition,  1867. 
Lottery  for  wounded  in  Franco-German  War,  1871. 
From  Collection  of  Mr.  Barlow,  of  England. 


This  great  painting,  which  Eugene  Delacroix  described  as  the  "  most 
sincerely  religious  picture  of  the  XlXth  century,"  is  at  the  same  time 
simple,  imposing,  and  elegant  in  composition. 

The  actual  painting  of  the  work  extended  over  a  period  of  several  years, 
as  we  learn  from  Corot's  own  letters;  *  its  surface  is  so  coated  with  succes- 
sive thicknesses  of  paint  that  already  it  presents  the  enamel  of  a  painting 
of  the  last  century.  Indeed,  regarding  the  intrinsic  qualities  of  its  execu- 
tion only,  this  chief  d'oeuvre  can  be  well  compared  to  a  fine  picture  by 
Rembrandt. 

The  "St.  Sebastian"  is  sober  in  tone,  in  keeping  with  the  subject,  yet 
rich  in  the  coloring  of  the  accessories. 

The  principal  group  cannot  fail  to  capture  attention,  nor  can  one  fail  to 
admire  the  grace  and  freshness  of  the  angels,  so  light,  so  aerial,  flying 
among  the  tops  of  the  trees,  and  bearing  the  attributes  of  the  martyr. 
This  deHcate  motive  furnishes  an  effect  of  most  tender  opposition,  and 
presents  the  further  advantage  of  filling  equally,  yet  with  different  senti- 
ments, both  the  upper  and  lower  half  of  the  picture. 

The  background  is  in  itself  very  interesting,  and  the  place  it  assumes  in 
the  frame  denotes  in  the  artist  an  innate  taste  for  the  picturesque  and  a 
thorough  knowledge  of  the  value  of  lines.  The  piercings  of  light  are  most 
discreetly  arranged  to  give  full  value  to  the  principal  clearing,  and  the 
leafage  of  the  trees,  hanging  from  the  branches  covered  with  their  many- 
hued  barks,  is  so  light  and  open,  you  feel  that  other  angels  may  at  any 
instant  appear. 

Corot,  throughout  the  whole  of  his  long  life,  abandoned  the  study  of  the 
old  masters  and  devoted  himself  to  the  study  of  nature  alone,  wherein  he 


*  Corot  said,  in  letters  to  his  friend  Constant  Dutilleux,  a  distinguished  painter  of  Arras: 
Sept.  23,  1851.  "I  am  at  the  moment  working  upon  an  historical  landscape  embellished 
with  a  St.  Sebastian  succored  by  some  holy  women.  And  with  care  and  work  I  hope,  under 
the  guidance  of  Heaven,  to  make  a  lovely  picture." 

August  29,  1852.  "  As  soon  as  my  St.  Sebastian  is  out  of  the  fog  and  I  have  become  more 
quiet,  the  ladies  have  my  promise  to  pay  you  a  visit  this  winter." 

Just  at  this  time  Corot  was  not  satisfied  with  his  work,  and  was  doubtful  about  exhibiting 
it  in  the  Exposition  of  1853;  indeed,  he  had  scratched  it  from  his  list,  but  some  of  his  friends 
persuaded  him  to  change  his  determination,  and  he  writes: 

October  10,  1852.  "  T  have  consulted  about  the  *  St.  Sebastian,'  and  they  have  decided  me 
to  continue  it,  and  risk  its  exhibition." 

January  14,  1853.    "I  am  working  like  an  ogre." 

February  4,  1853.  "My  'St.  Sebastian'  is  nearly  finished;  let  us  hope  it  will  prove  a 
success." 

At  the  close  of  the  Exhibition  the  picture  returned  to  his  studio,  and  later  in  the  year 
Corot  again  worked  upon  it. 

Sept.  25,  1853.  "  The  *  St.  Sebastian  '  advances,  but  slowly.  I  have  been  obliged  to  turn 
aside  to  dash  off  some  things  for  amateurs,  so  that  I  shall  not  be  able  to  visit  you  until  the 
first  of  January." 


3 


63 


unwittingly  followed  the  great  Italian  masters  Correggio,  Titian,  and  Paul 
Veronese,  and  acquired  with  them  the  same  charm  and  magic  of  compo- 
sition. 

Our  great  writer  Theophile  Sylvestre,  in  his  "  Histoire  des  Artists 
vivants,"  in  using  the  "  St.  Sebastian  "  as  the  best  example  with  which  to 
explain  Corot's  technique,  has  said :  "  In  a  landscape  there  are  no  more 
two  identical  color  values  to  be  found,  than  are  there  in  Nature  two  faces, 
two  clouds,  two  trees,  two  lights,  two  drops  of  water,  absolutely  alike. 
....  Let  us  take  as  an  example  of  his  work  his  picture  of  this  year,  '  St. 
Sebastian ' ;  but  first  let  us  understand  its  general  intent.  Two  holy  women 
draw  out  the  arrows  from  the  body  of  the  martyr  and  support  him  in  his 
agony.  He  lies  in  the  heart  of  a  mysterious  wood,  in  the  shadow  of  mighty 
trees  growing  at  the  base  of  a  hill  which  rises  like  a  Calvary.  His  execu- 
tioners have  abandoned  the  martyr  in  this  gloomy  spot  where  no  prying 
eye  could  discover  them,  and  are  just  seen,  their  horses  in  a  walk,  passing 
over  a  little  summit  into  a  valley  which  suddenly  plunges  beneath  the 
line  of  the  horizon.  But  the  two  holy  women  have  heard  the  groans  of  the 
victim  and  watched  the  departure  of  his  torturers.  Two  angels,  light  as 
butterflies  and  bright  as  spirits,  fly  through  the  shivering  leaves,  bearing 
the  palm  and  crown.  Corot  has  poured  out  all  his  talent  and  all  his  heart 
into  this  picture,  so  religious,  so  touching. 

"  In  it  the  division  of  values,  according  to  the  principle  I  have  set  forth 
above,  is  comprised  as  follows :  The  sky  very,  very  light ;  the  angels  very 
light;  the  head-dress  of  the  woman  holding  the  vase,  light;  the  cavaliers, 
less  light;  the  foliage  of  the  trees,  dark;  the  hill  which  rises  to  the  right  of 
the  spectator,  more  dark;  the  full-grown  trunks  of  the  trees,  very  dark. 
And  bear  in  mind  that  each  of  these  divisions  is  subdivided  ad  infinitum." 
*********** 

The  picture  was  returned  to  Corot's  studio  from  the  Exhibition  of  1867, 
at  the  time  of  the  year  when  the  landscapists  seek  the  fields  and  the  woods, 
and  Corot  was  never  the  last  to  abandon  his  four  walls.  When  the  leaves 
had  again  fallen  the  master  once  more  saw  his  "  St.  Sebastian,"  and  was  at 
once  struck  with  the  absence,  or  rather  insufficiency,  of  air,  arising  from 
the  contracted  opening  in  the  trees,  which,  moreover,  was  too  square. 

He  at  once  enlarged  it  below,  forming  a  kind  of  triangle,  which  better 
corresponded  -to  the  image  of  rays  of  light.  This  happy  idea  was  hailed  by 
his  friends.  Necessarily,  this  modification  led  to  many  others,  not  only  in 
the  landscape  bordering  this  flow  of  light,  but  also  in  some  of  the  details 
of  the  figures. 

In  this  state  the  picture  remained  at  his  studio  until  1871,  when  Corot 
presented  it  to  the  lottery  held  in  the  interior  of  the  yet  unfinished  Opera 
House,  in  aid  of  the  orphans  left  by  the  Franco-German  war,  and,  unlike 
some  artists  whose  pictures  were  there,  he  refused  to  accept  the  large  sum 
offered  him  in  numbered  tickets. 

The  picture  was  drawn  by  a  foreigner,  from  whom  I  purchased  it. 


64 


Unfortunately  its  great  size  prevented  my  keeping  it,  and  I  yielded  it  to 
M.  Durand-Ruel.  I  recall  now  also  that  it  was  offered  to  the  Administration 
of  the  Beaux  Arts  for  a  very  reasonable  price,  but  they  made  no  answer. 

I  had  noticed  that  both  the  canvas  and  stretcher  were  square  on  top,  and 
that  the  circular  form  was  given  by  the  frame  only.  The  artist,  having 
received  an  impression,  more  or  less  well-founded,  that  this  shape  would 
aid  its  sale,  readily  consented,  when  requested  in  1872,  to  make  the  picture 
rectangular.  Thus  we  may  say  that  it  is  seen  to-day  in  its  third  state,  and 
certainly  it  has  lost  nothing  in  the  last  transformation. 

In  conclusion,  I  would  mention  that  this  picture  was  photographed  in  its 
first  state  at  the  Exposition  of  1853  (io>^x6i^  inches),  to  illustrate,  with 
other  plates,  the  two  numbers  in  folio  relating  to  Corot  in  the  "  Histoire 
des  Artists  vivants  frangais  etrangers.  Etudes  d'apres  nature  par  Theo- 
phile  Sylvestre,  1853." 

It  was  also  engraved  on  wood  at  the  same  time  and  for  the  same  publi- 
cation in  4to  (size  6^  X4^  inches). 

Finally,  in  1873-4,  M.  Durand-Ruel  had  it  photographed  and  etched  by 
M.  H.  Lemaire  (in  size  5/^2  ^3^4-  inches)  for  his  important  publication, 
unfortunately  but  little  known,  where  are  to  be  found  most  of  the  im- 
portant pictures  of  the  contemporaneous  French  school. 

I  would  add  that  Corot,  in  1852,  made  at  Arras,  for  his  friend  Ct.  Dutil- 
leux,  a  beautiful  crayon  of  its  first  state,  which  now  belongs  to  me  (14  x  io>4 
inches). 

At  the  Exposition  of  1867,  M.  Pothey  obtained  from  his  illustrious 
master  an  original  drawing  (10^x6^  inches),  rounded  at  the  top,  to 
insert,  under  a  photo-typographic  form,  in  his  fine  publication  "  L'Auto- 
graphe  au  Salon."  This  represents  the  second  state  of  the  work,  with  the 
large  opening  in  the  trees  showing  the  sky  and  distance. 

Finally,  to  show  how  this  subject  haunted  the  brain  of  the  great  artist, 
I  will  mention  a  little  sketch  traced  from  nature  in  the  Forest  of  Fontaine- 
bleau  at  the  "  Carrefour  of  Charlemagne,"  in  which  Corot  has  placed  the 
"  St.  Sebastian  "  group. 

Upon  seeing  this  magnificent  cluster  of  moving  trees,  one  of  our  most 
talented  artists  exclaimed  with  fervor :  "  If  the  Parthenon  had  been  deco- 
rated with  landscapes,  Corot  would  have  been  the  sculptor." 

(Signed)       Alfred  Robaut, 

October  15,  1883. 

Among  the  drawings  found  in  a  portfolio  I  bought  at  Corot's  posthu- 
mous sale  are:  A  sketch  in  crayon  of  the  composition.  Also  a  pencil 
drawing  (in  folio)  of  an  Academic  study  of  the  figure  St.  Sebastian,  and 
on  the  top  of  the  sheet  is  written,  "  I  have  been  advised  not  to  place  them 
too  high — M.  Cibot,  historical  painter."  That  is,  Corot's  friends,  including 
Cibot,  who  was  the  last  admitted  to  his  studio,  advised  him  to  place  the 
group  of  three  figures  very  near  the  bottom  of  his  composition. 


65 


193 

PASINI  (A.)  Paris 

Pupil  of  Ciceri. 
Medals,  1859-63-64. 
Legion  of  Honor,  1868. 
Grand  Medal  of  Honor  (E.  U.),  1878. 
Officer  of  Legion  of  Honor,  1878. 
Bom,  1826.    Died,  1899. 

"  Damascus." 

13x16 

Dated  1880. 

194 

COROT  (J.  B.  C.)  Paris 

Pupil  of  V.  Bertin. 
Medals,  1838-48-55-67  (E.  U.). 
Legion  of  Honor,  1846. 
OfBcer  of  the  Legion  of  Honor,  1867. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878.. 
Born,  1796.    Died,  1875. 

"  Very  Early  Spring." 

15x21 

From  the  Robaut  Collection,  Paris. 
195 

FROMENTIN  (E.)  Paris 

Pupil  of  Cabat. 
Medals,  1849-57-59  (E.  U.)-67. 
Legion  of  Honor,  1859. 
Officer  of  the  Legion  of  Honor,  1869. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Born,  1820.    Died,  1876. 

"  An  Encampment  in  the  Atlas  Mountains." 

56  X  40 

196 

RICO  (Martin)  Paris 

Medal,  1878. 
Legion  of  Honor,  1878. 

"Venice." 

28  X  17 

From  the  W.  T.  Blodgett  Collection,  New  York. 
197 

VIBERT  (J.  G.)   Paris 

Pupil  of  Barrias. 
Medals,  1864-67-68. 
Legion  of  Honor,  1870. 
Third-class  Medal,  Exposition  Universel,  1878. 
Born,  1840.    Died,  1904. 

"  Toreadors  before  Entering  the  Arena." 

33  X  18 


66 


198 

BOUGHTON  (G.  H.),  A.  R.  A  London 

Member  of  the  National  Academy. 
Associate  of  the  Royal  Academy. 

"  Venus  and  Neptune." 

14  X  23 

From  the  Artist. 


199 

BONVIN  (Frangois  S.)   Paris 

Medals,  1849-51. 
Legion  of  Honor,  1870. 
Born,  1817.    Died,  1878. 

"  Drawing  Water." 

12  X  17 
■     Dated  1858. 


200 

CROME  (John)  Norwich 

Born,  1769.    Died,  1821. 

"  Landscape." 

9x  12 


201 

COROT  (J.  B.  C.)  Paris 

Pupil  of  V.  Bertin. 
Medals,  1838-48-55-67  (E.  U.). 
Legion  of  Honor,  1846. 
Officer  of  the  Legion  of  Honor,  1867. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Born,  1796.    Died,  1875. 

"  Two  Italian  Peasants,  *  Youth  and  Old  Age.'  " 

11x7 

Collection  Dutilleux.    Collection  Moreau — Nelaton,  Paris. 
Collection  P.  A.  Cheramy,  Paris. 


202 

MARIS  (J.)  Holland 

Born  at  The  Hague,  1838.    Died,  1899. 

"  Dutch  Landscape,  with  Canal." 

13X  19 


67 


203 

COURBET  (Gustave)   Paris 

Born  at  Orrans,  1819.    Died,  1877. 

"  Landscape." 
19x23 


204 

CHAVET  (Victor)    .  Paris 

Pupil  of  Revoil  and  Roqueplan. 
Medals,  1853-55  (E.  U.)-57. 
Legion  of  Honor,  1859. 

"  The  Amateur." 

8x6 

Dated  1859. 


204  (A) 

GEROME  (J.  L.).    (See  Number  51.)  Paris 

Born,  1824.    Died,  1904. 

"  Bashi  Bazook  Singing." 

25  X  17H 


204  (B) 

GEROME  (J.  L.).    (See  Number  51.)  Paris 

Born,  1824.    Died,  1904. 

"  The  Death  of  Caesar." 

57  X  33 


204  (C) 

ROUSSEAU  (Theodore).    (See  Number  25.)     ....  Paris 

Bom,  1812.    Died,  1867. 

"  A  Swamp  in  the  Landes  " 

22  X  15^ 


68 


EAST  GALLERY. 


205 

DRUMMOND  (Samuel),  A.  R.  A. 

Associate  Royal  Academy,  1808. 
Born  at  London,  1765.    Died,  1844. 

"  The  Apotheosis  of  Nelson." 

Canvas,  2014  x  16. 


206 

WILSON  (Richard),  R.  A. 

Foundation  Member  Royal  Academy,  1768. 
Bom  at  Pinegas,  Montgomeryshire,  1714.    Died,  1782. 

"  Italian  Landscape." 

Canvas,  11%  x  9^. 


207 

RAEBURN  (Sir  Henry),  R.  A. 

Associate  Royal  Academy,  1812.    Academician,  1815. 
Born,  1756.    Died,  1823. 

"  Portrait  of  Margaret  Wilson." 

Canvas,  29  x  24. 


208 

LELY  (Sir  Peter). 

Pupil  of  Peter  de  Grebber. 
Court  Painter  to  Charles  I  and  Charles  II. 
Knighted  by  Charles  II. 
Born  at  Westphalia,  1618.    Died,  1680. 

"  Portrait  of  a  Lady." 

Canvas,   31%  x  29. 


209 

IBBETTSON  (Julius  Caesar). 

Born  at  Masham,  Yorkshire,  1759.    Died,  1817. 

"  Landscape  and  Figures." 

Canvas,   17%  x  23%. 
69 


210 

GAINSBOROUGH  (Thomas),  R.  A. 

Pupil  of  Francis  Hayman. 
Foundation  Member  Royal  Academy,  1768. 
Born  at  Sudbury,  1727.    Died,  1788. 

"  Landscape  with  Figures." 

Canvas,  16  x  20. 
211 

WILSON  (John),  called  "Jock"  Wilson. 

Pupil  of  Alexander  Nasmyth. 
Foundation  Member  Society  of  British  Artists. 
Honorary  Member  Scottish  Academy. 
Born  near  Ayr,  1774.    Died,  1855. 

"  English  Barn-yard." 

Canvas,  15  x  17%. 


212 

CROME  (John). 

President  Norwich  Society  of  Artists,  1810. 
Born  at  Norwich,  1769.    Died,  1821. 

"  Landscape  with  Figures." 

Canvas,  18y2  x  15%. 


213 

CONSTABLE  (John),  R.  A. 

Associate  Royal  Academy,  1819.    Academician,  1829. 
Born  at  East  Bergholt,  Suffolk,  1776.    Died,  1837. 

"  Landscape  with  Anglers." 

Canvas,  24%  x  29%. 


214 

LESLIE  (Chas.  R.),  R.  A. 

Pupil  of  Benjamin  West  and  Washington  Allston. 
Associate  Royal  Academy,  1821.    Academician,  1826. 
Born  at  London,  1794.    Died,  1859. 

"  The  Miniature." 

Canvas,  19  x  15^/4. 


1' 


215 

OPIE  (John),  R.  A. 

Professor  of  Painting  Royal  Academv,  1806. 
Born  at  St.  Agnes,  near  Truro,  1761.    Died,  1807. 

"  The  Game  of  Chess."  . 

v  Canvas,  26%  x  34%. 

WA>'  70 


216 

FRENCH  SCHOOL— XVIII  Century. 

"  Portrait  of  a  Lady." 

Canvas,  49^^  x  40l^. 

217 

SANDERS  (George  L.). 

Born  at  Kinghorn,  Fifeshire,  1774.    Died,  1846, 

"  Portrait  of  Lord  Byron." 

Canvas,  36  x  28. 
From  Mrs.  Amelia  Marianna  Leigh. 

218 

GELLEE  (Claude),  called  Claude  de  Lorraine. 

Bom  at  Chamagne  (Vosges),  1600.    Died,  1682. 

.    "  Italian  Landscape  with  Figures." 

Canvas,  19V2  x  15%. 

219 

BONINGTON  (Richard  Parkes). 

Pupil  of  Baron  Gros. 
Born  at  Arnold,  near  Nottingham,  1801.    Died,  1828. 

"  Beach  Scene  with  Figures." 

Canvas,  102  x  19%. 
220 

WILSON  (Richard),  R.  A. 

Foundation  Member  Royal  Academy,  1768. 
Both  at  Pinegas,  Montgomeryshire,  1714.    Died,  1782. 

"  Italian  Landscape." 

Canvas,  18x21%. 

221 

O'CONNOR  (James  A.). 

Born  at  Dublin,  1793.    Died,  1841. 

"  Landscape — The  Forest  Road." 

Canvas,  17%  x  23^^. 
222 

COLLINS  (William),  R.  A. 

Associate  Royal  Academy,  1814.    Academician,  1820. 
Bom  at  London,  1788.    Died,  1847. 

"  Landscape  with  Children  at  Play." 

Canvas,   23%  x  19%. 


71 


323 

CROME  (John). 

President  Noirwich  Society  of  Artists,  1810. 
Born  at  Norwich,  1769.    Died,  1821. 

"  Landscape  with  Large  Tree." 

Canvas,  26%  x  20. 
224 

HOPPNER  (John),  R.  A. 

Associate  Royal  Academy,  1792.    Academician,  1795. 
Born  at  London,  1758.    Died,  1810. 

"  Portrait  of  Mrs.  Mellon  (Duchess  of  St.  Albans)." 

Canvas,   29i/^  x  24%. 

225 

REYNOLDS  (iSir  Joshua),  P.  R.  A. 

Pupil  of  Thomas  Hudson. 
First  President  Royal  Academy,  1768. 
Born  at  Plympton,  Devonshire,  1723.    Died,  1792. 

"  Portrait  of  Duke  of  Portland." 

Canvas,  49%  x  38%. 

226 

ROMNEY  (George). 

Bom,  Lancashire,  1734.    Died,  1802. 

"  Portrait  of  Miss  Lockwood." 

/ 

Canvas,  29^  x  241^. 

227 

LAWRENCE  (Sir  Thomas),  P.  R.  A. 

Associate  Royal  Academy,  1791. 
Academician,  1794.    President  R.  A.,  1819-30. 
Court  Painter,   1792.    Knighted,  1815. 
Bom  at  Bristol,  1769.    Died,  1830. 

"  Portrait  of  the  Countess  of  Sutherland,  in  her  own  right,  she 
became  first  Duchess  of  Sutherland  after  marrying 
Marquis  of  Stafford." 

Canvas,   28%  x  23%, 
From  grandson  of  the  steward  of  Dunrobbin  estates,  given 
him  by  the  Duke  of  Sutherland. 

228 

COLLINS  (William),  R.  A. 

Associate  Royal  Academy,  1814.    Academician,  1820. 
Born  at  London,  178S.    Died,  1847. 

"  Landscape  with  Figures,  Harvest  Showers." 

Canvas,  39^  x  63%. 
Collection  Isaac  M.  Currie. 


72 


229 

VINCENT  (George). 

Pupil  of  John  Crome. 
Exhibitor    Royal    Academy,  1814-23. 
Born  at  Norwich,  1796.    Died,  about  1831. 

"  Landscape  with  Figures,  A  Country  Lane." 

Canvas,  34%  x  46^4- 

230 

MORLAND  (George). 

Born  at  London,  1763.    Died,  1804. 

"  The  Smugglers." 

Canvas,  27%  x  34%. 

231 

LELY  (Sir  Peter). 

Pupil  of  Peter  de  Grabber. 
Court  Painter  to  Charles  I  and  Charles  II. 

Knighted  by  Charles  II. 
Bom  at  Westphalia,  1618.    Died,  1680. 

"  Portrait  of  Mr.  P.  Leneve,  Alderman  of  Norwich." 

Canvas,  49  x  39. 
Walpole  Collection,  Strawberry  Hill,  1842. 
Exhibition  British  National  Portraits,  Burlington  House,  1883. 

232 

HOGARTH  (William). 

Bom  at  London,  1697.    Died,  1764. 

"  Portrait  of  Selina,  Countess  of  Huntingdon." 

Canvas,  29%  x  24%. 

She  was  the  daughter  of  the  Earl  of  Ferrers,  and  married  the  Earl  of 
Huntingdon.  She  built  in  England  64  chapels  and  became  so  prominent  in 
religious  matters  that  she  became  the  head  of  a  sect  known  as  the  "  Lady 
Huntingdon  Connection." 

233 

VAN  DYCK  (Sir  Anthony). 

Pupil  of  Van  Balen  and  Rubens. 
Born,  1599.    Died,  1641. 
Court  Painter  to  Charles  I  and  to  Ferdinand  of  Austria. 

Knighted  by  Charles  I,  1632. 
Honorary  President  Antwerp  Guild  of  St.  Luke,  1635. 

"  Portrait  of  Prince  Maurice." 

Canvas,  80  x  50%. 
From  Countess  of  Warwick. 

Son  of  the  Elector  Palatine  and  King  of  Bohemia,  and  Elizabeth  his 
wife,  who  was  a  daughter  of  James  I.  of  England.  He  died  in  165 1,  ship- 
wrecked on  coast  of  Spain.   He  was  a  brother  of  Prince  Rupert. 


73 


234 

VAN  DYCK  (Sir  Anthony). 

Pupil  of  Van  Balen  and  Rubens. 
Born,  1599.    Died,  1641. 
Court  Painter  to  Charles  I  and  to  Ferdinand  of  Austria. 

Knighted  by  Charles  I,  1632. 
Honorary  Poet,  President  Antwerp  Guild  of  St.  Luke,  1635. 

"  Virgin  and  Child." 

Canvas,  49  x  44%. 
Blenheim  Palace  Collection. 
Joseph  Ruston  Collection. 
Smith's  catalogue  of  Marlborough  Collection,  number  263. 

235 

CONSTABLE  (John),  R.  A. 

Associate  Royal  Academy,  1819.  Academician,  1829. 
Bom  at  East  Bergholt,  Suffolk,  1776.    Died,  1837. 

"  The  Lock." 

Canvas,  22%  x  28%. 

236 

LAWRENCE  (Sir  Thomas),  P.  R.  A. 

Pupil  of  Royal  Academy. 
Born,  1769.    Died,  1830. 
Associate  Royal  Academy,  1791. 
Court  Painter,  1792. 
Royal  Academician,  1794. 
Knighted  in  1815. 
President  Royal  Academy,  1820-30. 

j  "  Portrait  of  the  Countess  of  Wilton." 

Canvas,  43%  x  34. 
Collection  of  Alfred  Morrison. 

237 

LAWRENCE  (Sir  Thomas),  P.  R.  A. 

Pupil  of  Royal  Academy. 
Bom,  1769.    Died,  1830. 
Associate  Royal  Academy,  1791. 
Court  Painter,  1792. 
Royal  Academician,  1794. 
Knighted  in  1815. 
President  Royal  Academy,  1820-30. 

"  Portrait  of  Mrs.  Foote." 

Canvas,   34%  x  261/2. 

238 

RAEBURN  (Sir  Henry),  R.  A. 

Associate  Royal  Academy,  1812.    Academician,  1815. 
Born,  1756.    Died,  1823. 

"  Portrait  of  a  Lady." 

Canvas,  35%  x  27%. 


74 


239 

ROMNEY  (George). 

Born,  Lancashire,  1734.    Diedy  1802. 

"  Portrait  of  Mrs.  Frere." 

Canvas,  29  x  2iVi. 


240 

GAINSBOROUGH  (Thomas),  R.  A. 

Pupil  of  Francis  Hayman. 
Foundation  Member  Roval  Academy,  1768. 
Born  at  Sudbury,  1727.    Died,  1788. 

"  Crossing  the  Ford." 

Canvas,  72%  x  60%. 


241 

DE  HEUSCH  (Willem). 

Pupil  of  Jan  Both. 
Born  at  Utrecht,  1638.    Died,  1712. 

"  Italian  Landscape." 

Canvas,  4314  x  39%. 


243 

GOLTZIUS  (Hendrik). 

Bom  at  Mulbrecht  (lulich),  1558.    Died,  1617. 

"  On  the  Way  to  Calvary." 

Panel,  I7y2  x  26%. 


244 

GERMAN  SCHOOL— XVI  Century. 

"The  Philosopher.' 

Canvas,  21%  x  28^4- 


245 

MENGS  (Anton  Raphael). 

Born  at  Aussig,  Bohemia,  1728.    Died,  1779. 

"  Portrait  of  Cardinal  de  Bernis." 

Canvas,  52^2x37%. 


75 


246 

PENCZ  (Georg). 

Born  at  Nuremburg,  about  1500.    Died,  1550. 

"  The  Crucifixion." 

Panel,  23i^  x  37%. 
Dated  1537. 


247 

SCHOOL  OF  HOLBEIN,  the  younger— Early  XVI  Century. 

"  Portrait  Group." 

Panel,  32V2  x  25%. 


248 

SCHOOL  OF  DURER  (Albreclit)— Early  XVI  Century. 

"  The  Mysteries  of  the  Rosary." 

Triptych,  281/2x41%. 


249 

HOLBEIN  (Hans,  the  younger)  School. 

Born  at  Augsburg,  1497.    Died,  1543. 

"  Portrait  of  an  Ecclesiastic." 

23  X  14M 

Dated  A.  D.  1529,  Aet.  74. 
Collection  Sir  Charles  Lock  Eastlake.    Collection  Sir  Richard  Gerrard. 


250 

SCHOOL  OF  HOLBEIN  (Hans). 

"  Portrait  of  Foxe." 

Panel,  13%  x  11. 


251 

NEUFCHATEL  (Colin  de). 

Born  at  Mons,  Hainault,  1525.    Died,  about  1570. 

"  Portrait  of  an  Ecclesiastic." 

Panel,  15  x  13. 


76 


252 

MENGS  (Anton  Raphael). 

Bom  at  Aussig,  Bohemia,  1728.    Died,  1779. 

"  Male  Portrait — Unknown  Personage." 

Canvas,  25  x  18. 


253 

FERBIS  (GERMAN  SCHOOL— XVII  Century). 

"  Judith  with  the  Head  of  Holofernes." 

Canvas,  50^^  x  35y2. 


254 

GERMAN  ,SCHOOL-Early  XVI  Century. 

"  Adoration  of  the  Magi." 

Panel.    Triptych.    34%  x  5iy2. 


255 

GERMAN  SCHOOL— Early  XVI  Century. 

"  Adoration  of  the  Magi. 

Panel.    Triptych.    35%  x  Sl^^. 


256 

GERMAN  SCHOOL— XVI  Century. 

"  The  Philosopher." 

Panel,  29^^  x  47. 


257 

HOLBEIN  (Hans,  the  younger)  School. 

Born  at  Augsburg-,  1497.    Died,  1543. 

"  Portrait  of  an  Elderly  Woman." 

Panel,  371^x27%. 


258 

GERMAN  SCHOOL— XVI  Century. 

"  Portrait  of  a  Pope." 

Panel,  33  x  23. 
Dated  1563. 


77 


259 

GERMAN  SCHOOL— XVII  Century. 

"  Portrait  of  a  Queen." 

Canvas,  26^4  x  21. 


260 

MENGS  (Anton  Raphael). 

Born  at  Aussig,  Bohemia,  1728.    Died,  1779. 

Portrait  of  a  Lady  in  Gala  Costume." 

Canvas,  45y2  x  321/2. 

GERMAN  SCHOOL— Early  XVI  Century.  ' 

"  Adoration  of  the  Magi." 

Panel,  26%  x  311/2. 

262 

HUYS  (Pieter). 

Antwerp,  16th  Century. 

"  The  Last  Judgment." 

Panel,  45  x  38. 


263 

MENGS  (Anton  Raphael). 

Bom  at  Aussig,  Bohemia,  1728.    Died,  1779. 

"  Portrait  of  a  Roman  Senator." 

Canvas.   521^  x  37%. 


264 

DENNER  (Balthasar). 

Born  at  Hamburg,   1685.    Died,  1749. 

"  Head  of  an  Old  Man." 

Canvas,  16%  x  11%. 


265 

NETSCHER  (Caspar). 

Born  at  Heidelberg,  1639.    Died,  1684. 

"  Portrait  of  a  Young  Lady." 

Canvas,  18%  x  I514. 


78 


266 

FLEMISH  SCHOOL— Early  XVI  Century. 

"  Virgin  and  Child,  with  Two  Attendant  Angels,  in  a 
Landscape." 

Pamel,  231^x191/2. 
267 

REYNOLDS  (Sir  Joshua),  P.  R.  A. 

Pupil  of  Thomas  Hudson. 
First  President  Roval  Academy,  1768. 
Born,  1723.    Died,  1792. 

"  Portrait  of  the  Artist." 

Panel,  17%.  x  131/2. 

268 

GAINSBOROUGH  (Thomas),  R.  A. 

Pupil  of  Francis  Hayman. 
Foundation  Member  Royal  Academy,  1768. 
Born  at  Sudbury,  1727.    Died,  1788. 

"  Portrait  of  a  Lady." 

Canvas,  11%  x  9^. 

269 

CRANACH  (Lucas). 

Bom,  1472.    Died,  1553. 

"  Portrait  of  a  Noble  Lady." 

Panel,  14x9%. 

270 

TERBURG  (G.). 

Born,  1617.    Died,  1681. 

"  Miniature  Portrait  of  a  Gentleman." 

Panel,  4  x  314. 

271 

FRENCH  SCHOOL— XVIII  Century. 

"  Portrait  of  a  Gentleman." 

Canvas,  13i^  x  10%. 

272 

DUTCH  SCHOOL— XVII  Century. 

"  Portrait  of  an  Old  Man." 

Panel,  I6I/2  x  13 


79 


273 

GERMAN  SCHOOL— XVI  Century. 

"  Portrait  of  an  Elderly  Man/ 

Panel,  13^  x  10%. 


275 

DURER  (Albrecht)  School. 

Born  at  Nuremburg,  1471.    Died,  1528. 

"  A  View  of  Nuremburg." 

Panel,  111/2x10%. 


MU^itU^-^Bartolome  Esteban). 

Born  at  Seville,  1617.    Died,  1682. 

"  The  Nativity." 

Canvas,  38%  x  55. 

Virgin  and  Child,  with  Saints  in  Adoration,  a  Peasant  Bringing  Gift  of  Game. 


278 

RIBERA  (Josef). 

Born  at  Xativa,  Spain,  1588.    Died,  1656. 

"  Saint  Jerome  in  Penitence." 

Canvas,  52%  x  42. 


279 

SUTTERMANS  (Justus). 

Born  at  Antwerp,  1597.    Died,  1681. 

"  Portrait  of  a  Noble  Lady." 

Canvas,  26  x  19%, 


280 

SUTTERMANS  (Justus). 

Born  at  Antwerp,  1597.    Died,  1681. 

"  Portrait  of  a  Nobleman." 

Canvas,  26  x  19%. 


8o 


281 

SPANISH  SCHOOL— About  XVI  Century. 

"  Landscape  with  the  Flight  Into  Egypt." 

Canvas,  17%  x  22%. 


282 

SCHOOL  OF  VELASQUEZ— XVII  Century. 

"  Battle  Scene." 

Canvas,  llVa  x  171/4. 


283 


GOYA  Y  LUCIENTES  (Francisco  Jose  de). 


Born  at  Fuendetodos,  Spain,  1746.    Died,  1828. 

Portrait  of  a  General." 

Canvas,  37%  x  29V2. 


284 

GOYA  Y  LUCIENTES  (Francisco  Jos6  de).  v,  . 

Born  at  Fuendetodos,  Spain,  1746.    Died,  1828.  p 

"  Head  of  a  Young  Girl." 

Canvas,  7%  x  6. 


285 

MURILLO  SCHOOL. 

Murillo,  Born  at  Seville,  1617.    Died,  1682. 

"  The  Ambulant  Musicians." 

Canvas,  12%  x  9V2. 


286 

MURILLO  (Bartolome  Esteban). 

Born  at  Seville,  1617.    Died,  1682.  a      r  ^\ 


The  Immaculate  Conception." 


Canvas,  97%  x  70y2. 

Collection  Count  Altamira.    Collection  Coesvelt,  1840.    (Engraved  by  Joubert,  1835.) 
Collection  Mrs.  George  Perkins,  London,  1887.     Collection  Sir  Lewis  Jarvis,  London,  1890. 
Collection  P.  C.  Hanford,  New  York.  1902. 


81 


287 

DUTCH  SCHOOL— XVII  Century. 

"  A  Family  Group." 

Panel,  56  x  82%. 

288 

DUTCH  SCHOOL— XVI  Century. 

"  The  Annunciation  "  (Grisaille). 

Panel,  37%  x  22%. 

f  289 

VAN  LEYDEN  (Lucas). 

Born  at  Leyden,  1494.    Died,  1533. 

"  Christ  Taken  from  the  Cross." 

Panel,  lli^  x  16%. 

i  (  tM  i  ' 

290 

BLES  (Hendrik  Met  de). 

Born  at  Bouvignes,  1480.    Died,  1550  (?). 

"  Virgin  and  Child  with  St.  John  and  a  Bishop." 

Panel.    Triptych.    13%  x  261/2. 

291 

FLEMISH  SCHOOL— Early  XVI  Century. 

"  Landscape  with  Two  Female  Saints." 

Panel,  13%  x  lOi^. 

292 

FLEMISH  SCHOOL— Early  XVI  Century. 

"  Christ  on  the  Way  to  Calvary." 

Panel,  14%  x  12. 
293 

GOSSAERT  (Johann)  Flemish  School. 

Born,  1470. 

"  Seated  Virgin  and  Child  Against  Rose  Hedge." 

Panel,  40%  x  28%. 


82 


294 

FLEMISH  SCHOOL— Early  XVI  Century. 

"  The  Dead  Christ  in  the  Arms  of  Mary." 

Panel,   12  x  7%. 

296 

VAN  DER  GOES  Ghent 

Born  at  Ghent,  1435.    Died,  1482. 

"  St.  John  the  Baptist  and  Donator."      V  ,Un(  {aa 

From  Collection,  P.  A.  Berger  of  Amheim. 

297 

ATTRIBUTED  TO  THE  MASTER  OF  FLEMALLE. 

Born,  1430.    Died.  1480. 

"  Madonna  and  Child  " 

Round — Diameter 

298 

REMBRANDT  VAN  RIJN. 

Bom  at  Leyden.  1603-7.    Died,  1669. 
Pupil  of  von  Swanenburch  and  Lastman. 

"  Portrait  of  a  Man." 

X  8 

Collection  Fran(;ois  Flameng. 
Sale  May  26,  1919,  Paris. 
Probably  a  study  for  The  Disciples  of  Emmaus.    Exhibited  in  the  Salle  du 
Jeu  de  Paume  "  among  Holland  master  painters  of  XVII  Century, 
April-July,  1911. 
Reproduced  in  "  Les  Arts  "  Vol.  167,  page  19. 

320 

VAN  DER  NEER  (Aert). 

Born  at  Gorinchem,  1604.    Died,  1677. 

"  Landscape,  View  of  a  Town  on  a  River." 

Panel,  10x14%. 

321 

VELDE  (William  Van  de,  the  younger). 

Born  at  Amsterdam,  1633.    Died,  1707. 

"  Marine— Harbour  with  Shipping,  Dead  Calm." 

Panel,  IZ^AxldVi. 

83 


327 

STUDIO  OF  REMBRANDT— XVII  Century. 

"  Jesus  in  the  Midst  of  the  Doctors  of  the  Church." 

Panel,  33i^  x  27V2. 

328 

FLEMISH  SCHOOL— XVI  Century. 

"  Interior  of  a  Cathedral  with  Figures." 

Copper,  71/4  x  9%. 

329 

FLEMISH  SCHOOL— XVI  Century. 

"  Street  Scene  with  Lofty  Buildings." 

Copper,  714  X  9Vi. 


330 

SUTTERMANS  (Justus). 

Bom  at  Antwerp.  1597.    Died,  1681. 

"  Portrait  of  a  Lady.'* 

Canvas,  42%  x  351/2. 


340 

BAKHUISEN  (Ludolf). 

Born  at  Emden,  1631.    Died,  1708. 

"  Marine — Coming  Squall." 

Canvas,  2OV2  x  261/2. 


344 

REMBRANDT  VAN  RIJN  (H.)  Studio. 

Born  at  Leyden,  1606.    Died,  1669. 

"  Joseph  Accused  by  Potiphar's  Wife." 

Panel,  21  x  18. 


345 

HALS  (Frans). 

Born  at  Antwerp,  1580  (?).    Died,  1666. 

"  Portrait  of  a  Gentleman." 

Canvas,  25  x  19. 
84 


351 

RUISDAEL  (Solomon  van). 

Born  at  Haarlem,  1610  (?).    Died,  1670. 

"  Landscape,  with  Fishermen  Hauling  Seine." 

Panel,  17^x27%. 


360 

BOL  (Ferdinand). 

Born  at  Dordrecht,  1611.    Died,  1681. 

"  The  Burgomaster." 

Canvas,  28  x  21. 


364 

BRUEGHEL  (Pieter). 

Born  near  Breda,  1530  (?).    Died,  1569. 

"  Kermesse." 

Panel.  UVz  x  22. 


371 

FLEMISH  SCHOOL— XVn  Century. 

"  Portrait  of  a  Gentleman.' 

Canvas,  29^^  x  2SV2. 


372 

SCHOOL  OF  A.  VAN  DYCK— XVII  Century. 

"  The  Magdalen." 

Panel,  24%  x  19. 


375 

GOYEN  (Jan  Van). 

Born  at  Leyden,  1596.    Died,  1666. 

"  A  Ferry,  with  Chateau." 

Panel,  15%  x  22^^. 


85 


379 

MIERIS  (Willem  van). 

Born  at  Leyden,  1662.    Died,  1747. 

"  The  Daughter  of  Herod  with  the  Head  of  John  the  Baptist." 

Panel.  11x8^. 


380 

SCHOOL  OF  FRANCOIS  CLOUET— XV  Century. 

"  Portrait  of  the  Duke  of  Alengon." 

Panel,  12  x  9. 


381 

ALDEGREVER  (Heinrich). 

Born  at  Westphalia,  1502.    Died,  1558. 

"  The  Parable  of  Dives  and  Lazarus." 

Panel,  61/2  x  81^. 


382 

MIERIS  (Frans  van). 

Born  at  Delft,  1635.    Died,  1681. 

"  The  Violinist." 

Panel.  11%  x  9^. 


383 

FLEMISH  SCHOOL— Early  XVI  Century. 

"  Virgin  and  Child,  with  St.  Joseph,  in  a  Landscape.' 

Copper,  101/^  X  8. 


385 

SCHMON  (J.  B.)— German  School  XVI  Century. 

"  The  Stroke  of  Lightning." 

Copper,  71/4  x  9%. 

386 

GERMAN  SCHOOL— XVI  Century. 

"  Portrait  of  a  Queen." 

Panel,  10^^x8%. 


86 


387 

COQUES  (Gonzales). 

Born   at   Antwerp,    1614.    Died,  16&4. 

"  Portrait  of  a  Noble  Lady,  with  Negro  Page." 

Canvas,  10^x8%. 


388 

FRENCH  SCHOOI^XVIII  Century. 

"  Mythological  Subject." 

Canvas,  lli^  x  8%. 


389 

GERMAN  SCHOOL— Early  XVI  Century. 

"  Virgin  and  Child  in  Landscape — Two  Angels  with  Crown 

Above." 

Panel,  15%xn%. 
390 

DROUAIS  (Jean  Germain). 

Bom  at  Paris,  1763.    Died,  1788. 

"  Portrait  of  a  Young  Lady." 

Canvas,  20y2  x  17^. 

391 

BOUCHER  (Frangois). 

Born  at  Paris,  1703.    Died,  1770. 

"  Pastorale." 

Canvas,  14^1  x  17^^. 


892 

DAVID  (Jacques  Louis). 

Bom  at  Paris.  1748.    Died.  1825. 

"  Portrait  of  Madame  Morel  de  Tangry." 

Collection  Alex.  Dumas,  fils,  Paris. 
Collection  P.  A.  Cheramy,  Paris. 

Canvas,   25  x  21. 


393 

LE  BRUN  (Marie  Louise  Elisabeth). 

Bora  at  Paris,  1755.    Died,  1842. 

"  Portrait  of  a  Gentleman." 

Canvas,  25i/4  x  18%. 


87 


394 

FRENCH  SCHOOL— XVIII  Century. 

"  Portrait  of  the  Daughter  of  Pilker." 

Canvas,  38^  x  29. 


395 

FRENCH  SCHOOI^XVIII  Century. 

"  Portrait  of  a  Lady. 

Canvas,  31%  x  25^4. 


396 

SCHOOL  OF  POUSSIN— XVII  Century. 

"  Venus  and  Neptune." 

Panel,  22  x  31. 


397 

FRENCH  SCHOOL— XVIII  Century. 

"  Voltaire  chez  la  Princesse  de  Conde." 

Copper,  17  x  22i^. 


398  ,  ,  ^ 

GREUZE  (Jean  Baptiste). 

Born  at  Tournus  (Burgundy),  1725.    Died.  1805. 

"  Innocence.*' 

Canvas,  17V2  x  14%. 


399 

FRAGONARD  (Jean  Honore). 

Bom  at  Grasse,  1782.    Died,  1806. 

"  The  Kiss." 

Canvas,  25  x  20^^. 


400 

FRENCH  SCHOOL— XVII  Century. 

"  Portrait  of  a  Lady." 

Canvas,  40%  x  31. 


401 

BELLE  (Alexis  Simon). 

Born  at  Paris,  1674.    Died,  1734. 

"  Portrait  of  Princesse  de  Bouillon." 

Canvas,  52  x  38i^. 

402 

BOUCHER  (Frangois). 

Born  at  Paris,  1703.    Died,  1770. 

"  Jeanne  d'Arc." 

Canvas,  241^  x  19. 

403 

GREUZE  (Jean  Baptiste). 

Born  at  Toumus  (Burgundy),  1725.    Died.  1805. 

"  The  Milkmaid." 

Canvas,   30  x  24. 

404 

BOUCHER  (Frangois),  Studio  of. 

Born  at  Paris,  1703.    Died,  1770. 

"Head  of  a  Young  Girl." 

Canvas,  18  x  13%. 
405 

FRAGONARD  (Jean  Honore). 

Born  at  Grasse.  1732.    Died,  1806. 

"  The  Lovers." 

Canvas,  25  x  20%. 
406 

BELLE  (Alexis  Simon). 

Born  at  Paris,  1674.    Died,  1734. 

"  Portrait  of  a  Lady." 

Canvas,  29  x  24. 

407 

POUSSIN  (Nicolas). 

Born  at  Villers  (Normandy),  1594.    Died,  1665. 

"  Summer." 

Canvas,  18^^  x  24i^. 


89 


408 

SCHOOL  OF  POUSSIN— XVII  Century. 

"  Mythological  Subject." 

Panel,  22  x  30 V2. 


409 

LOO  (Charles  Andre  Van). 

Bom  at  Nice,  1705.    Died,  1765. 

"  Portrait  of  a  Nobleman." 

Canvas.   29  x  24. 


410 

.  LARGILLIERE  (Nicolas  de). 

Born  at  Paris,  1656.     Died,  1746. 

l/jjL  "  Portrait  of  an  Actress.' 

•  Canvas,  37  x  28. 


411 

FRENCH  SCHOOI^XVII  Century. 

"  Portrait  of  a  Royal  Personage." 

Canvas,  21 1^  x  17^^. 

412 

CLOUET  (Jean  Frangois). 

Born  at  Tours.  1485  (?).    Died,  1541  (?). 

"  Portrait  of  Francis  I." 

Panel,  16  x  12iA 


413 

PATER  (Jean  Baptiste). 

Born  at  Valenciennes,  1695.    Died,  1736. 

"  Fete  Champetre." 

Canvas,  14^^  x  18^4- 


414 

LE  MOYNE  (Frangois). 

Born  at  Paris,  1688.    Died,  1737. 

"  Angelique  and  Medor." 

Canvas,  19  x  14. 


90 


415 

FLEMISH  SCHOOL— XVI  Century. 

"  Portrait  of  a  Lady." 

Panel,  12%  x  91/2. 


416 

POURBUS  (Francis). 

Born  at  Bruges,  1545.    Died.  1581. 

"  Portrait  of  a  Noble  Lady." 

Panel.  ISV2  x  lOVo. 


417 

WERNER  (Roland)— German  School  XVIII  Century. 

"  Dolce  Far  Niente." 

(Signed.)    Canvas,  8V2  x  11. 


418 

DUTCH  SCHOOL— XVII  Century. 

"  Landscape  with  Cattle.' 

Canvas,  8V2  x  III/2. 


419  (B) 

DUTCH  SCHOOL— XVII  Century. 

"  Landscape  with  Figures  and  Animals.' 

Panel,  10  x  llVo. 


419  (E) 

FRENCH  SCHOOL— XVIII  Century. 

"  Portrait  of  a  Lady." 

Copper  (Oval).  12  x  9. 


419  (F) 

SCHOOL  OF  PH.  WOUWERMAN— XVII  Century. 

"  Cavalry  on  the  March." 

Panel,  6x8. 


91 


419  (H) 

DE  HEUSCH  (Willem). 

Pupil  of  Jean  Both. 
Born   at   Utrecht,   1638.    Died,  1712. 

"  Landscape  with  Figures." 

Panel,  9%  x  12%. 


419  (K) 

UDEN  (Lucas  Van). 

BoTO  at   Antwerp,   1595.    Died,  1673. 

"  Landscape  with  Figures." 

Panel,  Qi^  x  14. 


92 


NORTH  GALLERY. 

ij^v:  420 

»         SALERNO  (Andrea  da).  Neapolitan  School,  XVI  Century. 

Follower  of  Raphael  and  the  Milanese  Cesare  da  Sesto. 

"Virgin  Seated  with  Infant  Christ  on  Her  Knee." 

Panel,  331/2  x  23. 

l^/DOMENICO  (Alunno  di).  Florentine  School,  last  two 

^.y-Xyi^  decades,  XV  Century.  1 

vP  Descriptive  name  for  painter,  whose  real  name  appears  to  have  been  Bartolommeo 

di  Giovanni,  assistant  of  Ghirlandajo,  influenced  by  Amico  di  Sandro. 

"  Myth  of  lo." 

Panel,  251/2  x  67. 


422 

BOTTICELLI  (School  of).  Florentine  School,  1444-1510. 

Botticelli,  pupil  of  Fra  Filippo,  influenced  at  first  by  the  Pollajuoli. 

"Virgin  and  Child,  with  St.  John."  ry^^/^ 

Medallion,  36  in.  diam.  '  / 

S  423 
DOSSO  DOSSI.  .  Ferrarese  School,  1479-1541. 

Developed  under  the  influence  of  Giorgioni  and  Titian. 


V;  r  ■  "  Saint  Bruno." 

THEOTOCOPULI  (El  Greco).  Venetian  School,  circa  1548- 1643. 

"  Saint  Francis  in  Ecstasy." 

(Signed.)    Canvas,  mV2x36Mi.  h 


PACCHIA.  '  Sienese  School,  1471-1535. 

Pupil  of  Fungai,  influenced  by  Pucchiurotto,  Fra  Bartolommeo,  Sodoma, 
Andrea  del  Sarto,  Raphael  and  Gengo. 

"  Virgin  with  Infant  Christ  and  St.  John." 

Medallion,  34  in.  diam. 


426 

VERROCCHIO  (School  of),  circa  1500.  Florentine  School. 

1435-1488.     Pupil  of  Donatello  and  Alesso  Baldovinetti,  influenced  by  Pesellino. 

"  Virgin  and  Child,  with  Towns  in  Distance." 

Panel,  22x15. 


427 

BOTTICELLI  (School  of).  Florentine  School,  1444-1510. 

.        ^-  Botticelli  (1444-1510).    Pupil  of  Fra  Filippi,  influenced  at  first  by  the  Pollajuoli. 

\^  "  The  Baptist." 

UjJtl    o^>-'l-<  ,vc\  •  24y2  xl5. 

428  ^^^^"^ 

DOMENICO  (Alunno  di).  Florentine  School,  last  two 

decades,  XV  Century. 

Descriptive  name  for  painter,  whose  real  name  appears  to  have  been  Bartolommeo 
di  Giovanni.    Flourished  last  two  decades  of  XV  Century.    Assistant  of 
,  ,  .  ,        ,4  . ;  Ghirlandajo,  influenced  by  Amico  di  Sandro. 

fc"  Communion  of  St.  Jerome — Dead  Christ — Death  of 
UL.  St.  Jerome."^  ?      ,  f 

3  panels,  each  7  x  18.  ^  ^    '  ^  -^JL^  • 

429 

,     .  LIPPI  (Fra  Filippo).  Florentine  School,  1406-1469. 

Pupil  of  Lorenzo  Monaco,  and  follower  of  Masaccio,  influenced  by  Fra  Angelico. 

-^^f,  .\  "Virgin  and  Child." 

(rS^^  Panel,  30x  20%. 

r  ^ 

^  430 

PINTURICCHIO  (School  of).  Umbrian  School,  1454-1513,, 

Comes  from  Fiorenzo  di  Lorenzo,  with  trace  of  Signorelli  and  Perugino. 

"  Christ  Bearing  the  Cross." 

Medallion,  20  in.  diam.  '  ' 

94 


431 

PAINTER  OF  LUCCA.        Tuscan  School,  end  of  XV  or  early 

XVI  Century. 

Following  Filippino. 

"  Virgin  and  Child,  with  St.  John,  St.  Sebastian,  the  Magdalen, 
and  another  Saint." 

Medallion,  45  in.  diam. 


GERMAN     ?tru,\rX^  Working  in  Florentine  style  of 

early  XVI  Century, 

Follower  of  Diirer  and  Cranach. 

"  Virgin  Seated,  with  Infant  Christ,  Child  and  Two  Angels 

Viewing  Her." 

Medallion,  42  in.  diam. 


V 1  433 

^'PALERMITAN  (?).  Sicilian  School,  circa  1470. 

yt     I  Follower  of  Antonello  da  Messina.  /O  A 

OSUvi     u  g^jj^^  Rosalie  Crowned  by  Angels."  V  .  f  -  ^  . 

434  fK'A..  '  . 

BOTTICELLI  (School  of).  Florentine  School,  1444-1510. 

Pupil  of  Fra  Filippi,  influenced  at  first  by  the  PoUajuoli. 

"  Virgin  and  Child."    ,       ^^^^  v^^^^  /r 

Panel,  221/2  x  15.  (  S 

436  '  ^  '  ]y 

GHIRLANDAJO  (Ridolfo).  Florentine  School,  1483-1561. 

Pupil  of  Granacci,  and  eclectic  imitator  of  more  of  his  important  contemporaries. 

"  The  Holy  Family."  rv,(>i 

•    C'M.-r-A-  Tondo.  33%  in.  diam.  ^1^0.00 \\JD 

437 

.  /  PALMEZZANO.  Umbro-Roman  School,  circa  1456-1543. 

Pupil  of  Melozzo  da  Forli,  influenced  slightly  by  Ronchin§llo. 

"  Holy  Family,  with  St.  John  and  the  Magdalen."  /         .  ^ 

Panel,  35  x  28%.  ^  ifybJ-^-f 

95  ? 

4 


438 

SERRAVALLE  (Antonello  da).        Venetian  School,  end  XV  Century. 

A  provincial  painter  of  the  Venetian  School,  active  toward  the  end  of  the 
XV  Century. 

"  Virgin  Crowned,  Leaning  on  Parapet,  Holding  Child." 

(Signed  Antonellus,  Pinxit.) 
Panel,  221/2x16%. 


439 

FABRIANO  (Antonio  da).  Central  Italian  School. 

Pupil,  perhaps,  of  Lorenzo  Salimbeni,  active  about  1450-1485,  developed  under 
the  influence  of  the  Vivarini,  and  possibly  of  some  German  master. 

V   >v  .    ,  "  St  Jerome  in  His  Study." 

'  (Dated  1451.) 

;-7S  Panel,  35  x20%. 

440 

LORENZO  (Fiorenzo  di)  (?).  Umbrian  School,  1440-1521. 

Pupil  of  Mezzastris  and  Bonfigli,  but  formed  under  the  influence  of  Benozzo 
Gozzoli,  in  Umbria,   and  at  Florence,   of  Antonio  Pollajuolo,  and 
especially  of  Verrocchio. 

"  Adoration  of  the  Magi." 

Medallion,  16  in.  diam. 

f    ,i  ASPERTINI  (Amico).  School  of  Ferrara-Bologna,  1474/5-1552. 

Pupil  of  Costa  and  Prancia,   influenced  by  Ercole  Roberti,  Signorelli, 
Pinturicchio,   and  Raphael. 

"  Portrait  of  a  Young  Woman  Holding  Book." 

Panel,  241/2  x  16%. 

442 

SCARSELLINO.  Ferrarese  School,  1561-1620. 

Follower  of  Dosso  and  Garofalo. 

"  Adoration  of  the  Magi." 

Panel,  81/4x53^. 


443 

BARNABA  DA  MODENA.  North  Italian  School,  XIV  Century. 

Active  1377-1883.    Giottesque,  under  Sienese  influence. 

"  Virgin  and  Child  with  Angels." 

Panel,  41  x  24. 


96 


"'^  BASAITI  (?).  '  Venetian  School,  circa  1470-1527.  ^ 

If  I  Pupil  of  Alvise  Vivarini,  follower  of  Giovanni  Bellini.  i>-\A.^^  ^^"-L't*^ 

Portrait  of  Young  Man  Wearing  Fur  Collar."^  /Wjt  hU. 

b\JTvy^  '  ,     /-       .  Panel. 

^   ORTOLANO.  School  of  Ferrara,  early  XVI  Century. 

An  artistic  personality  emerging  from  Ercole  Grandi,  strongly  influenced  by  i^vb 
Dosso,  in  the  last  phase  scarcely  to  be  distinguished  from  Garofalo.  \J 

"  Holy  Family,  in  a  Landscape."  ^'^  ) 

Panel,  13%  X 18%  J^,  >     L/ .^^T  A  ^^r 


446 


r    'SCHOOL  OF  GIOVANNI  BELLINI.      Venetian  School,  i43o(  ?)-i5i6. 

/  Pupil  of  his  father,  Jacopo,  formed  in  Padua  under  the  influence  of  Donatello. 

"  Virgin  and  Child  with  Saints  Peter  and  Mark  and  Two 

447 

SCHOOL  OF  COSTA.  School  of  Ferrara-Bologna,  1 460-1 535- ^f^  / 

Pupil  of  Oossa  and  Ercole  Roberti,  partner  of  Francia  at  Bologna,  and  finally  /--  *  /  i»  '  A, 

Court  Painter  at  Mantua.  ^  ^ 

^   cArv   ^  %^o^l^  "  Saint  Sebastian."  i^c^,  .  ^'^i^ 

^  X  Panel,  16^x11%.  V  L^>C^^C< 

448 

>\jO^  LORENZO  (Bicci  di).  Florentine  School,  1373-1452. 

\\icc«"  4  • 

^  Pupil  probably  of  his  father,  Lorenzo  di  Bicci,  influenced  by  Lorenzo  Monaco 

and  Pietro  di  Domenico  da  Montepulciano.  u#\A*<^.^9,l 

"  The  Annunciation,  with  Small  Roundel  Containing  David." 

Panel.  55%  x  48.  \>        l  '^       ^  f  '  - 

i  y 


449 

BONSIGNORI.  Venetian  School,  I453(  ?)-i5i9. 

Pupil  of  Bartolommeo  and  Alvise  Vivarini,   influenced  by  Giovanni  Bellini, 
and  later  by  Mantegna,  and  by  his  own  townsman,  Liberale  of  Verona. 


PA 


Profile 

Panel 


of  a  Warrior."  ^  f^/ji^  G\M^^ 

\,  17V2  X  14.  /     .  V 


' "  450 

BONSIGNORI.  Venetian  School,  i453(?)-i5i< 

Pupil  of  Bartolommeo  and  Alvise  Vivarini,  influenced  by  Giovanni  Bellini, 
and  later  by  Mantegna,  and  by  his  own  townsman,  Liberale  of  Verona. 

^\J^  "  Portrait  of  Prelate  in  Black." 

■  Canvas,  23  x  17%. 


451 

BRONZING.  Florentine  School,  1502 (?) -1572. 

fl^^>\f>y^'''^    ■>  Pupil  of  Pontormo,  influenced  by  Michelangelo.  ».  » 

-  ^     >.    0  "  Infant  Medici  in  Swaddling  Clothes."  ^9^^^' 

(  fflA  ^  Panel,  121/2  X  10. 

452 

'  BRUSASORCI  (D.).  Veronese  School,  1494-1567. 

Pupil  of  Coroto,  influenced  by  Torbido,  Titian,  Parmigianino  and  Michelangelo. 

"  Bust  of  an  Old  Man  with  White  Beard." 

Canvas,  28%  x  16. 

454 

^  V      GERINO  DA  PISTOIA.  Umbrian  School,  active,  1505-1529. 

Follower  of  Pinturicchio  and  Perugino. 

"  The  Crucifixion." 

Panel,  221/2  x  151^. 


455 

BUTINONE.  Milanese  School,  active,  1454-1507. 


Developed  under  the  influence  of  Foppa  and  the  Paduans. 

C^Mf-^A^-^  "Virgin  and  Child,  in  Landscape." 

Panel,  21  x  16%. 


456 

SCHOOL  OF  CAMERINO  (1435-1480).        Central  Italian  School, 

mid  XV  Century, 

^  "  Death  of  St.  Francis  of  Assisi." 


^Mi^V  457 

SCHOOL  OF  GAMERINO  (?).      Central  Italian  School,  probably 

third  quarter  XV  Century. 

"  Virgin  Enthroned  Against  a  Rose  Hedge,  Dead  Christ 

'^CJI^    Cct    ^     Jvt^^.  '  Panel.  52^23%. 

458  V>  \^ 

"  TOMMASO."      .  Florentine  School. 

An  artistic  personality,  closely  parallel  to  Lorenzo  Credi  (Credi,  1456-1537). 
Pupil  of  Verrocchio. 

"  The  Triumph  of  Chastity." 

Panel,  12^4x551/2. 


459 

CAMPI  (?)  (Bernardino).  School  of  Cremona,  1522,  circa  1592. 

Follower  of  his  brother,  Giulio  Campi. 

"  Saint  Catharine  Holding  a  Palm  Branch." 

/f  »  Panel,  13  X  m     f  r>,,  .J-  LJ-vsaM<J  X^M^- 

460 

CANALETTO  (A.).  Venetian  School,  1697-1/68. 

"  Reception  in  Palazzo  Vecchio,  Florence." 

Canvas,  16^^  x  28. 


461 

DEI  CARLI  (Raffaelino).  Florentine  School,  1470,  after  1526. 

Began  under  influence  of  Ghirlandajo  and  Credi,  later  became  almost  Umbrian, 
and  at  one  time  was  closely  associated  with  Garbo. 

"  Virgin  Appearing  in  Sky,  Between  St.  Nicholas  of  Bari  and 

a  Bishop." 

Panel,  21  x  28. 


^  462 

CIVERCHIO.  Milanese  School,  circa  1470-1544. 

Founder,  with  Ferramola,  of  Brescian  school.    Pupil  of  Foppa,  strongly 
influenced  by  Zenole  and  Leonardo. 

[  -         u  Virgin  and  Child."      Vii/jtr^ru  . 

^    ^    "  Panel,  22  xl5y..  ^  ^ 

99 


463 

GUERCINO.  Bolognese  School,  1591-1610. 

Born,  1591.    Died,  1666. 

"  Virgin  and  Child." 

Canvas,  38l^  x  30%. 


O**-  ^  464 

CAROTO  (Francisco).  Veronese  School,  1470-1546. 

Pupil  of  Liberale,  influenced  by  Mantegna  and  Bonsignori,  and  later  by  Raphael. 

"  Profile  of  a  Young  Poet  Crowned  with  Bay." 

-.^^^V-^"  Panel,  12 14  x  9%. 

466 

CARPACCIO  (Pietro).  Venetian  School,  late  XV  Century. 

.   Imitator  of  Vittorio  Carpaccio. 

\<^-^'^'^'^^^  "  Saint  George  and  the  Dragon." 

^    )>^V^WVw7  (Signed,  Pet.  V.)    Panel,  31x41^. 

^  467  !  ^ 

MASTER  OF  THE  CASTELLO  NATIVITY.      Florentine  School, 
^  middle  XV  Century. 


0 


14*-      A  temporary  designation  for  an  artistic  personality  descended  from  Fra  Angelico 
^    ^^J|A^  and  standing  midway  between  Fra  Filippo  and  Alesso  Baldovinetti. 

_A      V         "  Virgin  Kneeling  in.  Garden  Adoring  Child."       r-,  , 

\         >    y  Panel.  28  x  20%.  ....  |0,-M»- 

469 

SOLARIO  (Antonio).  South  Italian,  perhaps,  1480-1510. 

Perhaps  a  late  work  of  Antonio  Solario-.    Follower  of  Andrea  Solario  and  of 
contemporary  Venetian  painters. 

"  Saint  Sebastian." 

Panel,  39  x  29^. 


470 

^^V'^        CIMA  DA  CONEGLIANO.  Venetian  School,  circa  1460-1517. 

Pupil  of  Alvise  Vivarini,  influenced  by  Giovanni  Bellini. 

"Virgin  and  Child."  ;    T       b^^,  ^  ^ 


100  y  />, 


Panel,  21x17. 
100 


UTILE  OF  FAENZA  (Giov.  Batt.).  Florentine  School,  still       CJ^  •  •^'^^^ 

active  in  1515.  ^ 

Formed  under  the  influence,  first  of  Verrocchio,  and  then  of  Ghirlandajo. 

"  Virgin  and  Child,  with  Infant  St.  John." 

Panel,  24%  x  17V2. 


472 

BUGIARDINI,  or  SOGLIANI.  Florentine  School. 

1475-1554.    BUGIARDINI:  Pupil  of  Ghirlandajo  and  Pier  di  Cosimo,  assistant  of 
Albertinelli,  influenced  by  Perugino,  Michelangelo,  Francia  and 
Franciabigio. 

1492-1549.    SOGLIANI:    Pupil  of  Credi,  strongly  influenced  by  Albertinelli,  , 

Fra  Bartolommeo  and  Andrea  del  Sarto.  OlxW^ 

"  Portrait  of  a  Man."   f      ^  jf'^ 

Canvas,  2iy2X  18^.         ^    (/^cJJ '  ^  '^'^^ 


475 

PERUGINO.  (  Umbrian  School,  1446-1524. 


A  late  work.     Pupil,  perhaps,  of  Fiorenzo  di  Lorenzo,  influenced  directly  by 
Signorelli  and  a  great  deal  by  Verrocchio. 

Virgin  and  Child." 

Panel,  24^^x19. 


ERCOLE  DI  GIULIO  CESARE  GRANDI.        Ferrarese  School,  tS 

circa  1465-1535.        ^  v 

Pupil  of  Ercole  Robusti,  influenced  by  Costa  Francia  and  Mantegna. 

"  Scene  with  Architecture  and  Figures — Judges  Sitting  in  a  <^ 
Sort  of  Niche,  Soldiers,  and  a  Woman  Leading  up  a  Child."  ^ 

Panel,  18x171^. 


477 

LORENZO  (Fiorenzo  di).  Umbrian  School,  1440-1521. 

Pupil  of  Mezzastris  and  Bonfiglio,  but  formed  under  the  influence  of  Benozzo 
in  Umbria,  and,  at  Florence,  of  Pollajuolo  and  Verrocchio. 

"  Virgin  and  Child  with  Cherubs,  on  Gold  Ground." 

Panel,  24%  x  17^4. 


lOI 


FLORENTINE  SCHOOL.  Near  Giotto,  early  XIV  Century. 

Oval  (a  Fragment),  "  Virgin  and  Child." 

Panel,  17x22%. 
479 

VITERBO  (Antonio  da).  Umbrian  School,  active,  1478-1509. 

Follower  of  Pinturicchio,  Perugino,  and  Antoniazzo  Romano. 

us^-f^      ^    ,  ,  -^^  "  Virgin  and  Child." 

\Se-<W  CCi  .  \>b     '  Panel,  17x13. 


480 

CARLI  (Raffaellino  dei).  Florentine  School,  1475,  after  1526. 


Beg-an  under  influence  of  Ghirlandajo  and  Credi,  later  became  almost  Umbrian, 
and  at  one  time  was  closely  associated  with  Garbo. 

"  Story  of  Daniel." 

Panel,  22%  X  6-1 1/^. 


481 

SCHOOL  OF  FOPPA  (?).  Milanese  School,  last  half  XV  Century. 

"  Christ  Before  Pilate." 

Panel,  15^5x13. 

FUNGAL  Umbro-Sienese  School,  1460-1521. 

Pupil  of  Giovanni  di  Paolo,  influenced  by  Francisco  di  GioTgio  and  Pietro  di 
Domenico,  as  well  as  by  Fiorenzo  di  Lorenzo,  Signorelli,  and  other  Umbrians. 

"  Virgin  and  Child  in  Arch  Against  Landscape." 

Panel,  291^  x  21. 


483 

BUGIARDINI,  or  SOGLIANI.  Florentine  School. 

1475-1554.    BUGIARDINI:   Pupil  of  Ghirlandajo  and  Pier  di  Oosimo,  assistant  of 
Albertinelli,  influenced  by  Perugino.  Michelangelo,  Francia  and  Franciabigio. 
1492-1554.    SOGLIANI:   Pupil  of  Credi,  strongly  influenced  by  Albertinelli 
and  Fra  Bartolommeo. 

"  Portrait  of  Raphael." 


484 

RAPHAEL  (with  Assistance  of  Pupils).         Umbrian  School,  1483-1520. 

Pupil  of  Timoteo  Vili,  assistant  of  Perugino  and  Pinturicchio,  influenced  by 
Leonardo,  Fra  Bartolommeo,  Michelangelo  and  Sebastiano  del  PiombO'. 

"  The  Madonna  of  the  Candelabra. 

Medallion,  25%  in.  diam. 
JC  485 

^^^^   CARLI  (Raffaellino  dei).  Florentine  School,  1470,  after  1526. 


Began  under  influence  of  Ghirlandajo  and  Credi,  later  became  almost  Umbrian, 
and  at  one  time  was  duly  associated  with  Garbo. 


O-w  "  Story  of  Daniel." 

Panel,  221/2  x  64%. 


486 

GHISLANDI  (Fra  Vittorio).  School  of  Bergamo,  1655-1743. 

"  Portrait  of  Frate  di  Galgario." 

Panel,  23  x  171/0. 
487 

CENTRAL  ITALIAN.  Central  Italian  School,  late  XVI  Century. 

"  Portrait  of  Michelangelo." 

[)  -Cr^  ,  Panel,  251/2x191^. 


488 


IMINI  (Giovanni  Francesco  da).  Umbrian  School,  XV  Century. 

Died  ^before  1470.     May  have  been  pupil  of  Girolamo  di  Giovanni  da  Camerino, 
influenced  by  Benozzo  and  Bonfiglio. 

"  Virgin  and  Child."        |        ,    ^  > 

Pane,,.l.l«.  ^  • 

489 

PAOLO  (Giovanni  di).  Sienese  School,  1403 (?) -1482. 

Pupil,  probably,  of  Paolo  di  Giovanni  Fei,  close  follower  of  Sassetta. 
Four  panels,  each,  15i^  x  19%. 

1.  "Raising  of  Lazarus."  J^^'^lo^-^^^  ^ 

2.  "  March  to  Calvary."  '  OA'l^^  vt> 

3.  "  Descent  from  the  Cross." 

4.  "  The  Entombment." 

103 


490 

CARLI  (Raffaellino  dei).  Florentine  School,  1470,  after  1525. 

Began  under  the  influence  of  Ghirlandajo  and  Credi,  later  became  almost  Umbrian, 
and  at  one  time  was  closely  associated  with  Garbo. 


"  Story  of  Daniel." 

Panel,  22 x  6P/2. 


491 

GUIDO  RENI.  Bolognese  School,  1575-1642. 

"  Cupid  Lying  on  the  Seashore." 

Canvas,  21%  x  28. 


492 

GUIDO  RENI.  Bolognese  School,  1575-1642. 

"  Virgin  in  Adoration.'* 

Canvas,  24  x  19. 


493 

COPY  OF  BOLTRAFFIO,  BY  LANINI  ( ?).  Milanese  School. 

Boltraffio:    1467-1516.   Imitator  of  Leonardo. 
Lanini-Vercellese  School,  about  1511-1581/2.      Pupil  of  Gaudenzio  Ferrari. 

"  Virgin  and  Child  with  Infant  St.  John." 

Panel,  23  x  I814. 


494 

FRANCESCO  MAZZUOLA  (II  Parmigiano).   Bolognese  (?)  School, 

XVI  Century. 

"  Virgin  and  Child,  Two  Saints  and  Infant  St.  John." 

Panel,  33%  x  43%. 


495 

RIMINI  (Lattanzio  da)  (?).  Venetian  School,  active  latter  part 

XV  Century. 

Follower  of  the  Bellini, 

"  Virgin  with  St.  Jerome  and  the  Baptist  and  Male  and  Female 

Donors." 

Dated  1507. 
Panel,  27%  x  40. 


104 


SANSEVERINO  (Lorenzo  di  [the  younger]).  Umbrian  School,  ' 

died  1503. 

^  '   '    i   .  Pupil  of  either  Girolamo  di  Giovanni  da  Cumerino  or  Matteo  da  Gualdo,  wit,\^  in 

K^'    y  VvUAi  strongly  influenced  by  Nicolo  da  Foligno,  and  less  by  Crivelli.  i  ,  / 

JcZ  "Crucifixion,  with  the  Virgin  and  Saint  John."  ^^^'t'j/^ 

Panel.  22  xl3?4.  ^^-t^*^-*  ^ 

^  497 

\^      MAESTRO  DEI  GAROFANI.         Veronese  School,  towards  end  of 
^  XV  Century. 

Pupil  of  Domenico  Morone.  />t/V^ 

"  Virgin  Behind  Parapet,  Child  Standing  on  Cushion."  Tvv. 

Panel,  26x1% 
498 

'^'^'  MATTEO  di  GIOVANNI.  Sienese  School,  circa  1435-1495. 

Pupil  possibly  of  Domenico  di  Bairtolo,  strongly  influenced  by  Vaccihielto,  and 
later  by  Pollajuoli. 

"A  Cavalcade"  (Fragment  of  a  Cassone  Panel). 

Panel,  15i^  x  H. 

499 

COPY  OF  A  LOST  TITIAN.  Venotian  School,  circa  1480- 1574. 

Pupil  of  the  Bellini,  formed  by  Giorgione. 

.  "  The  Battle  of  Cadore." 


Panel,  33  x  30%. 


500 

NORTH  ITALIAN.  North  Italian,  towards  1500. 

^    "  Virgin  and  Child  Against  Architectural  Ruins." 

\.\        iU/^-C  •  f  (Formerly  ascribed  to  Bramanchino.) 

*  J  ^  Panel.  29x20Vo. 


^  501 

MORONI        '  School  of  Brescia,  1520/5-1578. 

Pupil  of  Moretto,  influenced  by  LattO'. 

"  Portrait  of  Man  in  Black  with  a  Dog." 

Canvas,  44  x  35^^. 


yt^*^  502 

^  SOLARIO  (x^ntonio)  (called  Lozingaro).        Venetian  School,  early 

XVI  Century. 

Follower  of  Andrea  Solario  and  of  contemporary  Venetian  painters. 

"  Holy  Family  with  Infant  St.  John  and  the  Magdalen." 

.  Panel,  28%  x  39%. 

505 

PALMEZZANO.  Umbro-Romagnol,  circa  1456-1543. 

^  Pupil  of  Melozzo  da  Forli,  influenced  slightly  by  Rondinelli. 

"  Virgin  and  Child  with  Saint  Jerome." 

Canvas,  29  x  311/^. 


506 

UTILE  OF  FAENZA  (Giov.  Bapt).      Florentine  School,  still  active 

in  1575. 

A  late  work.    Formed  under  the  influence,  first  of  Verrocchio  and  then  of  Ghirlandajo. 

"  Virgin  and  Infant  St.  John  Adoring  the  Child." 


iv'-  Medallion,  23%  in.  diam. 


507 

PALMEZZANO.  Umbro-Romagnol,  circa  1455,  after  1543. 

Pupil  of  Melozzo  da  Forli,  influenced  slightly  by  Rondinello. 


Qv/  "  Friar  Preaching."  ^ 

Panel,  14%  x  22%.  Chtv^.   \   \  ^ 


508 

PENNACCHI  (P.  m!)  (?).  Venetian  School,  1455-1496. 


Follower  of  Giovanni  Bellini. 
Four  Saints,  on  separate  panels. 


,  I.  "  St.  Roch." 

^  2.  "  St.  Peter." 

3.  "  John  the  Baptist." 

4.  "  St.  James,  the  Elder." 


Four  panels,  each  52%  x  16^4. 
106 


509 


PIAZZA  (Albertino).  Milanese  School,  active  until  1529. 

Influenced  by  most  of  the  older  Milanese  contemporaries,  and  by  Perugino 
and  Raphael. 

"  A  Female  Saint  Holding  a  Goblet,  with  Spatula." 

Panel,  291/2  x  231/2. 


510 

PANNINI  (G.  P.).  Roman  School,  1691-1768. 

"  Alexander  at  the  Tomb  of  Achilles." 

Canvas,  28I/2  x  2314. 

511  V.h^-y)  VevU^TNA 

pier  FRANCESCO  FIORENTINO.        Florentine  School,  active      U  AjtA^ 
^f^i^  last  decade  of  XV  Century.       ^  ^ 

\->^^        Pupil  probably  of  Fra  Ang-elico  or  Benozzo  Gk)zzoli.  influenced  by  Neri  di  Bicci, 
eclectic  imitator  of  Alesso  Baldovinetti,  Fra  Filippi  and  Pisellino. 


Virgin  and  Child  Against  a  Rose  Hedge." 

Panel,  25%  x  14%. 


513 

RICCI  (Sebastiano).  Venetian  School,  1660-1734. 

"  Iphigenia." 

Canvas,  27^/4  x  201/2. 


7s  f  A  513 
GUARGfcEAGRELE.  Venetian  School,  XIV  Century. 

"  Virgin  and  Child,  on  Gold  Ground." 

Panel,  16  x  91/2. 

514 

PINTURRICCHIO.  Umbrian  School,  1454-1513. 

Pupil  of  Fiorenzo  di  Lorenzo,  influenced  by  Signorelli  and  Perugino. 

"  Nativity." 

Panel,  33  x  18%. 


a: 


515 

LANZIANI  (Polidoro).  Venetian  School,  151S  (  ?)-i565. 

Imitator  of  Titian,  influenced  by  Bonifazio  and  Pordenone,  later  by  Paul  Veronese. 

"  Holy  Family  in  Landscape  with  St.  Mark." 

Canvas,  23%  x  321/4. 


516 

PANNINI  (G.  P.).  Roman  School,  1671-1768. 

"  Alexander  the  Great  Surprising  Conspirators." 

Canvas,  28iy4  x  23. 


517 

RONDINELLI.  Venetian  School,  active  circa  1480-1500. 

Pupil  of  Giovanni  Bellini,  whose  name  he  often  signs,  slightly  influenced 
by  Palmezzano. 

"  Virgin  and  Child  Between  St.  Peter  and  the  Archangel 

Michael." 

Triptych,  33%  x  58. 


5^ 


y  518 

ROSSELLI  (Cosimo).  Florentine  School,  1439-1507. 


Pupil  of  Neri  di  Bicci,  influenced  by  Benozzo  Grozzoli  and  Alesso  Baldovinetti. 

"  Virgin  and  Child." 


(On  gold  ground.) 
Panel,  17x111/2. 


519  v,^ 
SCHIAVONE  (Gregorio).  Paduan  School,  circa  1440-1470. 

Pupil  of  Squarcione. 

..         .  "  Virgin  and  Child." 

, .       _  fjJU  (Gothic  frame.) 

-    n  ^  t   ft  -  t\    ^-^  Gothic  panel,  22x16^2. 

Y^\^^    W,w-^    -^^^^  520  ^ 

SIGNORELLL  ,    .  Umbro-Florentine,  1441-1523. 

/  Pupil  of  Pier  della  Francesca,  influenced  by  Antonio  Pollajuolo. 

"  The  Angel  Gabriel." 

^  IaS^  h  '  ■ Panel,  SOVa  x  20y2. 


521 

NORTH  ITALIAN.  North  Italian,  late  XVI  Century. 

"  Portrait  of  a  Gentleman/' 

Canvas,  491/2x39%. 


523 

SODOMA.  School  of  Vercelli,  1477-1549. 

Pupil  of  Spanzotti,  but  practically  formed  by  Leonardo,  influenced  somewhat  by 
Fra  Bartolommeo,  and  more  by  Raphael. 

"  Holy  Family  with  Saint  Elizabeth  and  Infant  Saint  John." 

. .    ,  Tondo,  43%  in.  diam. 

523 

MAZZOLA  (Filippo),  of  Parma.  Venetian  School,  i46o(  ?)-i505. 

Follower  of  Antonello  da  Messina. 

"Virgin  and  Child." 

'   »     *  ^  \^  \\     \  Panel,  23  x  18.  v  ^-tf 

524 

SOGLIANO.  Florentine  School,  1492-15S4. 

fjy  Y  Pupil  of  Oredi,  influenced  by  Albertinelli,  Fra  Bartolommeo,  and  Andrea  del  Sarto. 

"  Virgin  and  Child  with  the  Infant  St.  John.'' 

Roundel,  37  in.  diam. 


,  526 

i 

y  LO  SPAGNA.  Umbrian  School,  active,  1500-1528. 

^  Pupil  of  Perugino  and  Pinturicchio,  influenced  by  Raphael. 

k-i^J^  "  Holy  Family  and  Infant  John."  ,  n 

%^t^  .  Panel,  38%  X  31.  W  . 

527 

-  ,   .    SPERANZA.  Venetian  School,  active  early  XVI  Century. 

Follower  of  Montagna. 


"  Bust  of  Savior."  f  /  ^ 


k^JiStK    ^"^^        j|  (Signed.)    Panel.  23%  x  I7y2 


528 

TINTORETTO.  Venetian  School,  1518-1592. 

May  have  been  a  pupil  of  Bonifazio,  influenced  by  Titian,  Parmigianino  and 
Michelangelo. 

^  «  Portrait  of  Zaccaria  Vendramin/' 

wwv*  ^  Canvas,  50x  43. 

529 

TUSCAN,  XIII  Century.  Tuscan  School. 

"The  Virgin  (Fragment  of  a  Crucifixion)." 

Fresco. 
530 

VENETIAN  SCHOOL.  Venetian  School,  early  XVI  Century. 

"  Virgin  Adoring  the  Child." 

Medallion,  28  in.  diam. 

531 

VENETIAN,  early  XVI  Century.  Venetian  School. 

"  St.  Francis  and  Two  Other  Saints." 

Large  altar  panel,  53  x  71. 
532 

VENETIAN,  early  XVI  Century.  Venetian  School. 

"  Madonna  Seated  on  Gilded  Throne,  Festooned  with  Coral, 
Holding  a  Pear." 

Panel,  21  x  17. 
533 

VENETIAN,  late  XVI  Century.  Venetian  School. 

"  The  Finding  of  Moses." 

Canvas,  18%  x  23%. 

534 

VENETIAN,  late  XVI  Century.  Venetian  School. 

"  Dogaressa  Represented  as  Cleopatra." 

Canvas,  4  ft.  10  in.  x  4  ft.  1^2  in. 


no 


535  ^  ' 

VIVARINI  (Alvise).  Venetian  School,  active,  1470-1503. 

"  Virgin  and  Child/* 

Panel,  151/2  X  12.  JLJU)    l^I  ^ellO^  ^toU^ 


.536 

SCHOOL  OF  VERROCCHIO.  Florentine  School,  1435-1488. 

Pupil  of  Donatello  and  Alesso  Baldovinetti,  influenced  by  Pesellino. 

"  Virgin  and  Child  in  Gothic-Renaissance  Interior." 

^VlV   >  Panel,  29%  x  19%. 

537 

VIVARINI  (Antonio).  Venetian  School,  active,  1440-1470. 

Developed  under  the  influence  of  Gentile  da  Fabriano. 

"  Virgin  and  Child."  I  \ 

(On  gold  ground.)  ' 
(Original  frame.) 
Panel,  24  x  1214. 


539 

BUTINONE.  Milanese  School,  after  1454-1507. 

Developed  under  the  influence  of  Foppa  and  the  Paduans. 

^.^..4,^^.  "  The  Virgin  in  Prayer."  I  W>  l- 

y^^J^   f^-v^xU--^    J^^--    ;  Panel.  liy.x  81/2.  ^ 

540 

GENOESE  (?).  Genoese  School,  XVII  Century. 

Follower  of  Van  Dyck. 

"  Portrait  of  a  Medici  Prince." 

Canvas,  42 1/^  x  26%. 


ZELOTTI.  — — ^  Veronese  School,  circa  1532-1592. 

Pupil  of  Badile  and  of  his  uncle,  Paolo  Farinate,  influenced  by  Brusasorci 
and  Paul  Veronese. 

"  Full-Length  Portrait  of  a  Lady  with  a  Little  Girl." 

Canvas,  81  x  47%. 


Or- 


542  Mi 

ZOPPO  (Marco).  Ferrarese  School,  circa  1440-1498. 

jiX*.'^      I  Pupil  and  imitator  of  Tura,  influenced  by  Giovanni  Bellini. 

Jka-^       ^^^^J^   "St.  Jerome  Beating  His  Breast." 

QUOL*   iJVvJi     A^v^vi   ,     Panel,  IQVa  X 10%.  ^ 

543.  I^'i'*- 

ZOPPO  (Marco).     ^  Ferrarese  School,  circa  1440- 1498. 

^  Pupil  and  imitator  of  Tura,  influenced  by  Giovanni  Bellini. 

^*  I^liL  '         "  Saint  fafxmic,  in  Landscape."  v(  1.-^.^ 

544  ivtj'^'- 

ZOPPO  (Marco).  Ferrarese  School,  circa  1440-1498. 

\r    <v     '  ^  Pupil  and  imitator  of  Tura,  influenced  by  Giovanni  Bellini. 

'1^' "  St.  Fr-ancis  Receiving  the  Stigmata."     ^  e<i-<rKv/ 

AGOSTINO  DA  LODI  (Giovanni).        Milanese  School,  active  first 

part  of  XVI  Century. 

Possibly  pupil  of  Bramantino,  influenced  by  Leonardo,  Alvise  Vivarini  and  Solario. 

"  Virgin  and  Child,  Window  View  o£  Landscape."  \(^]\ 

.    ^  Panel,  18  x  14%. 

fJ^^^  546 
SCHOOL 'of  MACRINO  D'ALB  A.  Piedmontese  School,  circa 

1470,  circa  1528. 

Developed  under  the  influence  of  Foppa  and  Leonardo,  seems  to  have  been 
acquainted  with  Tuscan  art,  notably  the  works  of  SignorelU  and 
:*.X    CaA'  Ghirlandajo. 

^     "  Holy  Family  with  an  Angel  Offering  Fruit  to  the  Child." 

Panel,  27     x  18%. 


547 

PALMEZZANO.  Umbro-Romagnol  School,  circa  1456,  after  1543. 

Pupil  of  Melozzo  da  Forli,  influenced  slightly  by  Rondinelli. 

"  Interior  of  Church  with  Friars,  Choir  Singing." 

Panel,  U%  x  22.         '  t  . 

112  / 


549 

SALVATOR  ROSA  (ascribed  to).  Neapolitan  School,  1615-1673. 

"  His  Own  Portrait,  Disguised  as  *  Puncinello.' " 

Canvas,  801/2  x  58Vi. 


551 

FLORENTINE  SCHOOL.  Florentine  School,  XVI  Century. 

"  Portrait  of  Boy  with  Bird." 

Canvas,  23  x  18. 

553 

DADDI  (Bernado).  Florentine  School,  active  circa  1317,  died  1355. 


Probably  pupil,  and  certainly  most  gifted  follower,  of  Giotto,  though 
influenced  by  the  Lorenzalli  of  Siena. 

"  Virgin  and  Child,  Latter  in  Pink  Robe." 


£  fv^^  Panel,  30  x  10. 

Cy[  (X^tf\:...r     ^«(^^sMa^-'  554 
-GIOVANI^a-ei- PAOLQ^T  Sienese  School,  I403(  ?)-i482. 

Pupil,  probably,  of  Paolo  di  Giovanni  Fei,  close  follower  of  Sassetta. 

"  Virgin  Enthroned  with  Angels  and  Saints  Nicholas  of  Bari, 
Francis,  the  Baptist,  Domenic,  Bartholomew  and 
Another  Saint ;  Annunciation  Above." 

Triptych,  80  x  72. 


566 

FABRIANO  (Francesco  di  Gentile  da).        Umbrian  School,  active, 

i  \  from  circa  1460-1500. 

^  Pupil  of  Antonio  da  Fabriano,  influenced  by  the  Bellini,  Crivelli,  Verroechio 

and  Melozzo  da  Forli. 


"  Ecce  Homo.' 
1^         t-rcww  16x11. 


567 

GIOVENONE.  Piedmontese  School,  circa  1490-1555. 

Fellow  pupil  and  follower  of  Gandenzio  Ferrari. 

"  Virgin  and  Child." 

Panel,  liy2  x  8^. 


"3 


569 

SANTA  CROCK  (Francesco).  Venetian  School,  died  in  1508. 

Pupil  of  Giovanni  Bellini,  and  follower  of  Palma  Vecchio. 

"  Holy  Family,  with  Saints  John  and  James." 

Panel,  181/2  x  251/2. 


570 

MACRINO  D'ALBA  (?).  Piedmontese  School,  circa  1470-1528. 


Developed  under  the  influence  of  Foppa  and  Leonardo,  seems  to  have  been  acquainted 
with  Tuscan  art,  notably  the  works  of  Signorelli  and  Ghirlandajo. 

"  Saint  Sebastian  and  Saint  Francis." 

Panel,  3*1/2x22%. 


571 

*         CASELLI  (Cristoforo) ,  of  Parma.  Venetian  School,  end  of 

XV  Century. 

Formed  by  Filippo  Mazzola. 

\j  ,1  .A  ^  "The  Savior." 

.  Panel,  24  x  iTi^. 

572 

PALMA  (Antonio).  Venetian  School,  active,  middle  XVI  Century. 

Follower  of  Bonifazio. 

"  Holy  Family  with  Saints  Elizabeth  and  John." 

Canvas,  29i/4  x  iVA. 


573 

VENETIAN,  late  XVII  Century.  Venetian  School. 

"  The  Drug  Seller." 

Canvas,  33%  x  3S%. 


575 

VENETIAN,  middle  to  end  XVII  Century.  '        Venetian  School. 

"  Ecce  Homo." 

Canvas,  35  x  50. 


114 


SA^^TA-eReCE  (Francesco).  Venetian  School,  died  in  1508. 

;  Pupil  of  Giovanni  Bellini,  and  follower  of  Palma  Vecchio. 

"  Virgin  and  Child,  with  Saint  Catharine  and  Saint  Jerome." 

Panel,  26%  x  43. 

578 

PARIS  BORDONE.  Venetian  School,  1495-1570. 

Pupil  and  follower  of  Titian,  influenced  later  by  Michelangelo. 

^yjl  ^VsX^yi     "  Angel  Appearing  to  a  Worshipper."         ^  ^ 

dUM>^    ,  Canvas,  25  x  30. 

L,  X  ^Vvvc^'W)    ^h^<M^  ^  V^-*^         A^*w^    ^-HA^cuwj  ■ 

SCHOOL  OF  BONIFAZIO.  Venetian  School,  1487-1553. 

Follower  of  Palma  Vecchio. 

6i  /L  c>U^t  "  Holy  Family  with  Saints." 

' /.       ...  ,  i  (From  Giustiniani  Palace.) 


C  /»       I  f  «i  Ji  '  (From  Giustiniani 

«  >W-»  ,  f  )  i-^y  <^  Canvas,  431/2  x 


581  1^'^^ 

ZAGANELLI  (Francesco).  Romagna-Ferrarese  School, 

circa  1460- 1 531. 

yf[\  ^  Pupil  of  Palmezzano,  influenced  by  Ercole  Robusti  and  Rondinello. 

"  Virgin  and  Child,  with  Saints." 

Panel,  28  x  39. 


582 

TITIAN,  Studio  of.  Venetian  School,  circa  1480-1574. 

"  Christ  and  the  Tribute  Money." 

1^.^^  (Of  the  "Cranio"  Museum.) 

Panel,  31  x  22. 

583 

CATENA.  Venetian  School,  active,  1495-1531. 

Pupil  of  the  Bellini,  influenced  by  Oarpaccio  and  Giorgione.  \j     P  ^ 

,     J;  "  Virgin  and  Child,  with  Four  Saints." 

Panel,  28%  x  47. 

CJUtm.         ScLX^  Ji^  ^  oiv-      115  Bfi 


585 

BRUSASORCI  (D.)  (?).  Veronese  School,  1494-1507. 

Pupil  of  Caroto',  influenced  by  Torbido,  Titian,  Parmigianino,  and  Michelangelo. 

K^T^^'^  ,  "FuU-Length  Portrait  of  Duke  of  Urbino." 

Canvas,  92  x  54%. 


'^bV;  586 


MATTEO  DI  GIOVANNI.  Sienese  School,  circa  I435-I495- 

Pupil,  possibly,  of  Domenico  di  Bartolo,  strongly  influenced  by  Vecchietta 
and  later  by  Pollajuolo. 

"  "  Virgin  and  Child,  with  Two  Angels." 

Panel. 


587 

LONGHI  (Luca).  School  o£  Ravenna,  1507-1580. 

"  Virgin  and  Child  with  Infant  St.  John,  St.  Catherine  and  an 

Apostle." 


590 

PALMA  (Giovane)  (?).  Venetian  School,  1544,  circa  1628. 

Follower  of  Titian  and  Tintoretto. 

n        .  ^  "  Saint  Christopher." 

jr  H  Canvas,  70x44%. 

591 

SCHOOL  OF  TINTORETTO.  Venetian  School,  1518-1592. 

May  have  been  the  pupil  of  Bonifazio,  influenced  by  Titian,  Parmigianino, 
and  Michelangelo. 

"  Portrait  of  a  Doge  of  Venice." 

Canvas,  55%  x  42%. 


592 

Ux^         FILIPPO  DA  VERONA  (?).  Venetian  School,  beginning 

of  XVI  Century. 

Follower  of  Giovanni  Bellini, 

"  Holy  Family,  with  the  Baptist,  Evangelist,  and  Donor." 

Panel,  33  x  411^. 


116  AM  '^^ 


593 

CRIVELLI  (Carlo).  Venetian  School,  1430/40,  after  1493. 

Pupil  of  the  first  Vivarini,  influenced  by  the  Paduans. 

"  Virgin  and  Child,  Two  Saints  and  Small  Donor." 

[The  donor  is  Initialled  F.  B.  D.  A.] 
Panel,  38y2  x  32. 

594 

BASAITI.  Venetian  School,  circa  1470-1527. 

Pupil  of  Alvise  Vivarini,  follower  of  Giovanni  Bellini. 

^      "  Saint  Jerome  Seated  in  a  Landscape,  Reading." 

^''-''^'V^'  .  .  Canvas.  38y.x  52.  ^^^^^  .,X  7\  .  &  ^ 

*  Vi  ^  596  ^ 

0^    PONTORMO.  Florentine  School,  1494-1556. 

^  Pupil  of  Andrea  del  Sarto,  influenced  by  Michelangelo.  ^  ^  ?      "  ' 

^  "  Portrait  of  a  Lady."  fe^/v^.(brv^ 

Panel,  34%  x  27%. 

597 

STUDIO  OF  TITIAN.  Venetian  School,  circa  1480-1574. 

Pupil  of  the  Bellini,  formed  by  Giorgione. 

U'ubr^.j^  «  Portrait  of  a  Lady,  with  Dog." 

Canvas,  35  x  28%. 


1 


DQSSO-DOSSL  Ferrarese  School,  1479-1541. 

j\  N.  Developed  under  the  influence  of  Giorgione  and  Titian.  ( Okt"-  ^ 

^  r^V>-*>  "  Holy  Family,  with  Saint  John."  ^  ^        ■  ^  C);^^ 

^  *^  J  -,  Panel,  16x25.  (    ^^J/^-^  ,  f 

SCHOOL  OF  CIMA.  Venetian  School,  circa  1460-15 17.      ^  •  ^ 

)\j'>.^  Pupil  of  Alvise  Vivarini,  influenced  by  Giovanni  Bellini 

^  ^^^^  "  Virgin  and  Child  in  a  Landscape." 

Panel,  261/2  x  21.  ^M**^ 
117  ^'■■'."'^ 


602 

GUARDI  (Francesco).  Venetian  School,  1712-1793. 

"  View  of  St.  Marks  and  Campanile  from  Canal." 

Canvas,  20  x  34. 


603 

CANALETTO.  Venetian  School,  1697-1768. 

"  Venetian  View." 

Canvas,  32  x  52. 


605 

LATE  FOLLOWER  OF  TITIAN.        Venetian  School,  circa  1480-1574- 

Pupil  of  the  Bellini,  formed  by  Giorgione. 

"  Portrait  of  a  Lady."  Ia^  -  iA^k  )  /f 

Canvas,  46%  x  35%. 


607 

GUARDI  (Francesco).  Venetian  School,  1712-1793. 

"  Street  Scene  in  Venice." 

Canvas,  19x15%. 


608 

GENOESE.  Genoese  School. 

Follower  of  Van  Dyck  (?). 

"  Portrait  "Of  a  Young  Girl." 

Canvas,  25  x  19. 


610 

LANZIANI  (PoHdoro).  Venetian  School,  I5i5(  ?)-i565. 

Imitator  of  Titian,  influenced  by  Bonifazio  and  Pordenone,  later  by 
Paul  Veronese. 

"  The  Supper  at  Emmaus." 

Copy  of  a  Bellini. 
Panel,  37%  x  62. 


118 


615 

GUARDI  (Francesco).  Venetian  School,  1712-1793. 

"  The  Arsenal,  Venice." 

Canvas,  lOi/o  x  I514. 

\.  ,^ 

616 

FUNGAL  Umbra-Sienese  School,  1460-1521.  ^^^J^v 

Pupil  of  Giovanni  di  Paolo,  influenced  by  Francesco  di  Gior^o  and    C^-v -^^-^  ^'"'^ 
Pietro  di  Domenico,  as  well  as  by  Fiorenzo  di  Lorenzo,  I 
Signorelli,  and  other  Umbrians.  t 

.  u^,/JV^     "  S^i^*  Sulpicia  Upon  a  Pedestal."  ^-^T 

'^^^  Panel,  4iy2  X  18%. 

620 

FOLIGNO  (Vicolo  d'Alunno  da).  Umbrian  School,  1430-1502. 

Pupil  of  Benozzo  Gozzoli,  at  the  end  of  his  career  slightly  influenced  v^^ 
by  Crivelli.  'KTC  ' 

"  Abraham,  Jacob,  Joseph,  Daniel,  Moses,  and  an  Angel." 

Six  separate  panels,  each  b^o  x  5. 


622 

PACCHIAROTTO.  "  Sienese  School,  1474-1540.  W 


Pupil  of  Matteo  di  Giovanni,  influenced  by  Fungai,  Francesco  di  Giorgio, 
Pietro  di  Domenico  and  Perugino. 

Christ,  the  Virgin,  Saint  John,  and  the  Magdalen. 

Panel,  15%  x  10%. 


635 

VENEZIANO  (Caterino).  Venetian  School,  active,  1362-1382. 

"  Virgin  and  Child  and  Twelve  Saints,  Crucifixion  on  Top." 

(Inscribed,  Chatari  Venetii  .  .  .  Pinxit.)  (Ts        I     K  0 

Twelve  panels  in  one  large  panel,  55  x  70%.  U 

722 

NORTH  ITALIAN— Giottesque.  North  Italian  School,  1276- 1336. 

Giotto  vf&s  a  Florentine  painter  whose  influence  was  felt  everywhere  in  Italian  art. 

"  The  Last  Judgment  and  the  Crucifixion." 

Panel,  ISVz  x  10%. 


119 


FEI  (Paolo  di  Giovanni).  Sienese  School,  active,  1372-1410. 

Pupil  of  Bartolo  di  Fredi  and  Andrea  Vanni. 

Virgin  and  Child, — Christ,  the  Virgin,  Saint  Anthony,  Abbot, 
and  Four  Saints." 

Triptych.  l7xl9i/2. 


^  731 

LORENZETTI  (Pietro).  Sienese  School,  active,  1305-1348. 

Pupil,  probably,  of  Duccio,  influenced  by  Simone  Martini  and  Giovanni  Pisano. 

J^-i^       Pel(L'  ^    "  Virgin  Enthroned,  with  Saints." 

^  Panel,  141/2  x  8%. 

733 

SCHOOL  OF  FRA  ANGELICO.      Florentine  School,  with  Umbrian 

influences,  1387-1455. 
,  Jl^  _    wj'    <\^^  Influenced  by  Lorenzo  Monaco  and  Masaccio. 

"  Saint  Laurence."        n  ^ 

I  ^  Panel,  2iy2  x  7^. 

737 

BARNA.  Sienese  School,  active  middle  and  later  decades  of 

XIV  Century. 

i  CciAjL       '    0\.^\r  {!  C.«^       Follower  of  Simone  Martini  and  Lippo  Memmi. 

At        c^Airw  .    (j^^      "  The  Crucifixion." 

I       »       n  Panel,  251/2  X 101/4. 


746 

NICOLO  DI  PIERO  GERINI.  Florentine  School,  active  from 

Tr.N.  1368-1415. 

W«*v  Follower  of  Agnolo  Gaddi. 

Saints  Joseph,  Augustine,  and  Laurence,  with  another  Saint." 

Panel,  10x11. 
120 


MA-TTEO  DA  VITERBO.  Sienese  School,  active  about  1340-1366.   f^^'  \ 

Pupil  and  assistant  of  Simone  Martini.  ^     ^  'P 

"  Virgin  and  Child.   Annunciation  and  Saints." 

Triptych,  17x18. 

752  v,r\  p 

CLOSE  TO  SPINELLO  ARETINO.  Florentine  School,  circa 

1333-1410. 

Follower  of  Giotto. 

"  Triptych  with  Fourteen  Figures." 
17  X  i6j^. 


121 


WEST  GALLERY. 


435 

BECCAFUMI  (Domenico).  Sienese  School,  1485-1551. 

Pupil  of  Pucchiarotto,  influenced  by  Sodoma  and  Fra  Bartolommeo. 

"A  Sibyl  "—Fresco  Transposed  on  Canvas. 

Medallion,  2Sy2  in.  diam. 


453 

PASSEROTTI  (Bartolommeo).      .         Bolognese  School,  1520/30-1592. 
"  Portrait  of  Pope  Pius  V." 

Canvas,  50  x  SG^^. 

468 

SCHOOL  OF  CANALLINI  (  ?).  Roman  School,  late  XIII  Century. 

"  Virgin  and  Child,  with  Scenes  from  Life  of  Christ." 

Triptych,  47  x  691/^. 


503 

BIBIENA  (Francesco  da).  Lombard  School,  1659-1739. 

"  Landscape  with  St.  Peter  Baptizing." 

Canvas,  37%  x  28. 


504 

SCHOOL  OF  TINTORETTO.  Venetian  School,  1518-1592. 

May  have  been  a  pupil  of  Bonifazio,  influenced  by  Titian,  Parmigianino  and 
Michelangelo. 

"  Portrait  of  a  Doge  of  Venice." 

Canvas,  41%  x  34. 


122 


525 

BIBIENA  (Francesco  da).  Lombard  School,  1659-1739. 

"  Landscape  with  Christ  Blessing  Little  Children." 

Panel,  36%  x  28. 


548 

BEDOLO.  School  of  Parma,  1533-1608. 

Follower  of  Parmigianino  and  Oorreggio. 

"  The  Virgin  and  Child,  with  St.  John." 

Panel,  48  x  32. 


631 

CLOSE  TO  JACOPO  DEL  SELLAIO.      Florentine  School,  1441/2-1493 

Pupil  of  Fra  Fillippo,  influenced  slightly  by  Oastagno's  works,  imitated  most  of 

his  Florentine  contemporaries,  especially  Botticelli,  Ghirlandajo,  \ 
and  Amico  di  Sandro. 


The  Virgin  Adoring  the  Holy  Infant."  G)J^^ 

Panel,  29x16.  ^ 


632 

MAESTRO  DEL  BAMBINO  VISPO.     Tuscan  School,  active  earlier 

decade  of  XV  Century. 


Descended  from  Barbolo  di  Fredi  of  Siena,  influenced  by  Lorenzo  Monaco 
and  his  school. 


Oi/  "  Saint  John  and  Saint  James.' 

Panel,  38^x2614. 


633 

UMBRIAN  SCHOOL.  Umbrian  School,  early  XVI  Century. 

"  Adoration  of  the  Magi." 

Panel,  261/2x20. 


634 

CLOSE  TO  GIOTTO.  Florentine  School,  1276-1336. 

Follower  of  Pietro  Cavallini,  influenced  by  Giovanni  Pisano. 

"  Virgin,  Christ,  and  the  Baptist." 

Panel,  18x50%. 


123 


r  r 


636 

ITALIAN  FOLLOWER  OF  JACQUES  DURANDI  (?). 

Italo-Provengal  School,  active  middle  of  XV  Century. 
"Virgin  and  Child,  with  the  Trinity  and  Eight  Saints." 

Large  polyptych,  10  panels,  12  ft.  10  in.  x  7  ft.  in. 

637 

PIER  FRANCESCO  FIORENTINO.      Florentine  School,  active  last 

decades  of  XV  Century. 

Pupil,  possibly,  of  Fra  Angelico  or  Benozzo  Gozzoli,  influenced  by  Neri  di  Bicci, 
eclectic  imitator  of  Alesso  Baldovinetti,  Fra  Filippi  and  Pesellina. 

"  The  Virgin  and  Child,  with  Saint  John." 

Panel,  26%  x  14 Va- 

639 

MILANESE  (?)  SCHOOL.  Milanese  (?)  School,  early 

XV  Century. 

"  Saint  Joachim,  Saint  Anthony,  and  Saint  Margaret." 

Panel,  301/2x16%. 


640 

ROMANO  (Antoniazzo).  Umbrian  School,  active,  1460-1508. 

Formed  under  the  influence  of  Melozzo  da  Forli,  and  later  of  Fiorenzo  di 
f     vi2^  Lorenzo,  and  perhaps  Perugino. 

.  "  Saint  Francis  d'Assisi." 

Panel,  27  x  17. 


/  641 

MARIOTTO  (Bernardino  di).  Umbrian  School,  active,  1497-1525. 

Pupil  of  Fiorenzo  di  Lorenzo,  influenced  by  Signorelli,  Lorenzo  da  Sanseverino, 
the  3'ounger,  and  Orivelli. 

^  "  Virgin  and  Child." 

Panel,  13^^x10%. 


642 

SCHOOL  OF  ORCAGNA  (?).  Florentine  School,  active 

^  middle  XIV  Century. 

Coming  out  of  Andrea  Pisano,  Giotto  and  the  Sienese  Lorenzetti. 

"  Saint  Peter  and  Saint  James." 


Panel,  52V^x  15.  JWAlUSW^^)^ 

124  "  ^^^'^^ 


^  643 

BANCHI  (Francesco  di  Antonio)  (?).        Florentine  School,  active 

during  earlier  decades  of  XV  Century. 

Pupil  of  Lorenzo  Monaco,  influenced  by  the  Maestro  del  Bambino  degli 
Occhi  Vispi,  and  later  by  Fra  Angelico  and  Masaccio.  Almost 
indistinguishable  from  Andrea  di  Gusto. 

"  Virgin  and  Child  Enthroned." 

Panel,  31  x  151^. 


644 

RAFFAELLO  DEI  CARLI  (or  Croli).        Florentine  School,  1470, 

after  1526. 

"  Madonna  in  Glory  between  St.  Nicholas  of  Bari  and 
Another  Bishop." 

Panel,  66%  x  52%. 


f^^'^  645 

SirUDIG-£)¥  LORENZO  MONACO.   Florentine  School,  circa  1370-1425. 

Follower  of  Agnolo  Gaddi  and  the  Sienese. 

"  Virgin  and  Child  with  Saints  Peter  and  Paul." 

Panel,  311/2  x  18. 


651 

CARAVAGGIO  (Michelangelo).         Bolognese  School,  circa  1565-1609. 
"  The  Magdalen." 

Canvas,  51  x  38. 


652 

PULIGO  (Domenico).  Florentine  School,  1492-1527. 

Follower  of  Andrea  del  Sarto. 

"  The  Virgin  Appearing  to  Saint  Bernard." 

Canvas,  84  x  69. 


653 

HONTHORST  (Gerard  van). 

"  Judith  and  Holofernes." 

Canvas,  48%  x  77. 


125 


654 

SCHOOL  OF  VAN  DYCK.  Flemish  School,  XVII  Century. 

"  Portrait  of  a  Lady." 

Canvas,  84%  x  mV^. 

656 

BRIL  (Paulus),  1556-1626.  Flemish  School. 

"  The  Seven  Wonders  of  the  World." 

Canvas,  54%  x  U6. 

657 

TIEPOLO  (Giovanni  Batista),  Venetian  School,  1696-1770. 

Influenced  by  G.  B.  Piazetta,  formed  on  Paul  Veronese. 

"Jugurtha  Brought  Before  the  Roman  Consul." 

Canvas,  9  ft.  2  in.  x  16  ft. 
659 

RIBERA  (Josef  de),  1588-1656.  Spanish  School. 

"  The  Good  Samaritan." 

Canvas,  61  x  67%. 

660 

SCHOOL  OF  VAN  DYCK.  Flemish  School,  XVII  Century. 

"  Portrait  of  a  Gentleman." 

Canvas,  84^^x561/4. 
662 

GUIDO  RENI.  Bolognese  School,  1575-1642. 

"  The  Penitent  Magdalen." 

Canvas,  84%  x  61. 

663-674 

ZEITBLUM  (Bartolomaus),  1460-1518, 

AND 

STRIGEL  (Bernhard),  1460-1528.  '  German  School,  XV  Century. 

"  The  Twelve  Stations  of  the  Cross." 

Twelve  Panels. 


126 


BICCI  (Neri  di).  Florentine  School,  1419-1491. 

Pupil  and  follower  of  his  father,  Bicci  di  Lorenzo.  j/  j\ 

"  Coronation  of  the  Virgin."  ^^/^ 

Panel,  79  x  79.  ' 

677  !  ijS^-W  .  ^  ^ 

LAURANA  (Luciano  da)  (?).       Central  Italian  School,  middle  and        ^  ''.'Xtw 

end  of  XV  Century. 

Architect.    As  painter,  influenced  by  Piero  della  Francesca. 

rn/^-  "A  Public  Square  in  an  Italian  City." 

Panel,  31  x  dSVa- 


ROMANO  (Antoniazzo).  Umbrian  School,  active,  1460-1508.  V^'-' 

Formed  under  the  influence  of  Melozzo  da  Forli,  and  later  of  Fiorenzo  di 
Lorenzo,  and  perhaps  Perugino. 

"  The  Virgin  and  Child  and  Infant  St.  John." 

Panel,  ISVa  x  131/2. 


686 

FEI  (Paolo  di  Giovanni),  Sienese  School,  active,  1372-1410. 

Pupil  of  Bartolo  di  Fredi  and  Andreo  Vanni. 

"  Virgin  and  Child." 

Panel,  14%  x  9%. 

687  f     ,,  I  f  '3,'.  . 

NICOLA  DI  MAESTRO  ANTONIO  DA  ANCONA.  ^/t^ 
School  of  the  Marches,  active  circa  1470-1490. 

^A.       ^"'^  "  John  the  Baptist." 

>'\M^  Panel,  4Gy2  x  15. 

689 

MACRINO  D'ALBA  (?).        Piedmontese  School,  circa  1470,  circa  1528. 

Developed  under  the  influence  of  Foppa  and  Leonardo,  seems  to  have  been 
acquainted  with  Tuscan  art,  notably  Signorelli's  and  Ghirlandajo's. 


^^Oi./'n  "  Saint  Sebastian.' 


Panel,  24%  x  8%. 


S 


127 


690 

MACRINO  D'ALBA  (?).        Piedmontese  School,  circa  1470,  circa  1528. 

'   rt  Developed  under  the  influence  of  Foppa  and  Leonardo,  seems  to  have  been 

\*^^^  I  acquainted  with  Tuscan  art,  notablj'  Signorelli's  and  Ghirlandajo's. 

"  Saint  Anthony." 

Panel,  24%  x  8%. 

691  }  C  1  ^  '  ^  -  » 

D'ASSISI  (Tiberio)  (?).  Umbrian  School,  active  till  1524. 

Pupil,  perhaps,  of  Mezzastris,  strongly  influenced  by  Pinturicchio  and  Perugino. 

"  Virgin  and  Child." 

Panel,  34  x  19. 


693 

D'ALLEMANNO  (Giovanni)  da  Murano.    Venetian  School  (Murano), 

active  second  quarter  XV  Century. 

Formed  possibly  in  the  School  of  Cologne. 

"  St.  Jerome." 

Panel,  38x161/2. 


694 

SCHOOL  OF  UMBRIA,  or  of  the  Marches.      School  of  Umbria,  or 
jp  of  the  Marches,  XIV  Century. 

^  "  Saint  James,  the  Elder." 

^      ^XV-*  Panel,  341/2x16%. 

695 

^PIER  FRANCESCO  FIORENTINO.     Florentine  School,  active  last 
^ ,         (<7^  C>'^  decades  of  XV  Century. 

^ '*}       Pupil,  possibly,  of  Fra  Angelico  or  Benozzo  Gozzoli,  influenced  by  Neri  di  Bicci, 
^  '  imitated  Baldovinetti,  Fra  Filippo  and  Pesselino. 

^  ,  ^  _  "  Virgin  and  Child." 

i^^^ ■  '  '    ■"  '    :  Vanel,  231/2  x  16.  ^ 

697 

INNOCENZO  DA  IMOLA.  Bolognese  School,  1493/4,  circa.  1550. 

Pupil  of  Francia,  influenced  by  Raphael. 

"  Four  Saints." 

Panel,  6OI/2  x  391/2. 


128 


698 

COZZARELLI.  Sienese  School,  1450-1516. 

Follower  and  imitator  of  Matteo  di  Giovanni.  ^  Ajl"^ 

"  Pentecost."  V^^^ 

Panel,  29y2  x  521/2. 

^  699 
CHOOL  OF  ANCONA.  School  of  Ancona,  circa  1400. 

"  Virgin  Surrounded  by  Saints." 

Three  panels,  in  five  divisions,  64  x  88. 


700 

NERI  DI  BICCI.  Florentme  School,  1419-1491. 

Pupil  and  follower  of  his  father,  Bicci  di  Lorenzo. 

"  Virgin  Surrounded  with  Saints." 

Panel,  52  x591/2. 

701 

SCHOOL  OF  UMBRIA,  or  of  the  Marches.      School  of  Umbria,  or 
(  of  the  Marches,  XIV  Century. 

"  ^^^^^  James,  the  Younger." 

-^^O-^^  Panel,  35  X  161/2- 

702 

COLA  D'AMATRICE  (?).  School  of  the  Marches,  active  early 

XVI  Century,  perhaps  till  1543. 

Chiefly  at  Ascoli.    Pupil,  possibly,  of  Alemanno,  formed  under  influence  of 
Umbrians,  Raphael,  and  Michelangelo. 

"  Saint  Jerome." 

Panel,  39  x  151/2. 


703 

ANTONIAZZO  ROMANO  (?).         Umbrian  School,  active,  1460-1508. 

Formed  under  the  influence  of  Mriozzo  da  Forli,  and  later  of  Fiorenzo 
di  Lorenzo,   and  perhaps  Perugino. 


"  Virgin  and  Child."  "  ^^tl 

Panel,  371/2  x  15. 


129 


704 

NEAPOLITAN  SCHOOL  (?).  Neapolitan  (?)  School,  circa  1370. 

"  The  Holy  Trinity." 

Panel,  19  x  13y2. 

706 

FOPPA  (Vincenzo).  Milanese  School,  circa  1427,  after  1502. 

Founder  of  Milanese  school,  studied  at  Padua  in  school  of  Squarcione,  influenced 
by  Braraante. 

"  Saints  Agnes  and  Catharine." 

Panel,  171/2  x  12%. 

708 

VENETIAN  SCHOOL.  Venetian  School,  early  XVI  Century. 

"  Virgin  and  Child,  with  St.  Anthony." 

Panel,  35xl5y2. 

709 

CRIVELLI  (Vittorio).  Venetian  School,  I468(  ?)-i5oi. 

Close  follower  of  his  brother,  Carlo  Crlvelli. 

"  Saint  John  and  a  Bishop." 

Panel,  481/2x33. 

710 

CLOSE  TO  EARLY  CIMABUE.        Florentine  School,  circa  1240-1301. 

"  Crucifixion." 

Panel  in  shape  of  cross,  95  x  80. 

711 

DEFENDENTE  FERRARI.  Piedmontese  School,  active,  circa 

1510-1535. 

Pupil  of  Spanzotti,  influenced  by  Maerino  d'Alba,  and  even  more  decidedly 
by  Northern  art. 

!y  "  Holy  Family  with  Angels." 

Panel,  57Vi  x  28. 


130 


712 

CAMERINO  (Christofano  da).  School  of  Camerino,  middle 

XV  Century. 

"  Christ,  the  Virgin,  and  Saint  John." 

Panel,  8  x  293^. 

r 

713 

CEOSE-TO  FRANCESCO  DI  GENTILE  DA  FABRIANO. 

Umbrian  School,  active  from  circa  1460- 1500. 

/ 


Pupil  of  Antonio  da  Fabriano,  influenced  by  the  Bellini,  Crivelli,  Verrocchio, 
and  Melozzo  da  Forli. 

"  Virgin  and  Child,  with  St.  John  and  an  Angel." 

Panel,  251/2x181/2. 

714 

^'^r^    .'ZANOBI  (Macchiavelli).  ■  Florentine  School,  1418-1479 

Pupil,  possibly,  of  Bicci  di  Lorenzo,  imitator  of  Fra  Angelico,  Fra  Filippo 
and  Benozzo  Gozzoli. 

"  The  Virgin  Enthroned,  with  Saints." 

Triptych,  29^2  x  36. 

715 

yV^^CLOSE  TO  MASOLINO.  Florentine  School,  1384,  after  1435. 

"  Virgin  and  Child,  Christ  on  the  Cross,  and  on  the  Doors  Four 

Triptych,  24  x  30y2.  '^^^^J^^^j^ii^l-, 

^  717 

VANNI  (Andrea).  Sienese  School,  circa  1332-1414. 

Pupil,  perhaps,  of  Lippo  Memmi,  partner  of  Bartolo  di  Fredi,  influenced  by 
works  of  Simone  Martini,  by  Bama,  and  by  the  Lorenzetti. 

"  Virgin  Enthroned,  with  Four  Evangelists  and  Angels."  . 

Panel,  33%  x  22^^.  ,  -  '  - 

718 

GIOVANNI  DA  MILANO  (?).  Florentine  School,  circa  1300-1365. 

Follower  of  Giotto. 

"  Coronation  of  the  Virgin." 

Triptych,  25%  x  29. 


0 


719 

BIONDO  (Giovanni  del)  (?).  Florentine  School,  active,  1372-1392. 

\^  Follower  of  Orcagna.  ^  ' 

"  Saint  Nichola  of  Ban  Between  Two  Saints."       V^  - 

Panel,  48  x  16%. 


721 

GIROLAMO  DI  BENVENUTO.  Sienese  School,  1470-1524. 


"  Saint  Lucia." 


Son  and  pupil  of  Benvenuto  di  Giovanni. 

aint  Luci 

Panel,  18  x  7. 


723 

CLOSE  TO  BARNABA  DA  MODENA.  North  Italian  School, 

active,  1377-1383- 

Giottesque,  under  Sienese  influence. 


[/O^  -  "  Scenes  from  the  New  Testament."      ;  ^ 

Panel,  in  nine  divisions,  21  x  19%.  ^ 

724 

MAESTRO  DEL  BAMBINO  VISPO.  Tuscan  School,  active 

earlier  decade  of  XV  Century. 

y-Y\/  Descended  from  Bartolo  di  Fredi  of  Siena,  influenced  by  Loirenzo  Monaco 

'  and  his  school. 


"  Christ,  the  Virgin,  Saint  John,  and  the  Magdalen." 

Panel,  141/2  x  9%. 


<l  .  kL\  (  726 

'       j  PIER  FRANCESCO  FIORENTINO.  Florentine  School,  active 

last  decades  of  XV  Century. 

Pupil,  possibly,  of  Fra  Angelico  or  Benozzo  Gozzoli,  influenced  by  Neri  di 
^         >  Bicci,  imitated  Baldovinetti,  Fra  Filippo  and  Pesellino. 

li*^.         „  "  Virgin  and  Child." 

Panel,  26x15. 


727 

GIOVANNI  DI  PAOLO.  Sienese  School,  1403 (  ?) -1482. 

Pupil,  probably,  of  Paolo  di  Giovanni  Fei,  close  follower  of  Sassetto. 

"  The  Crucifixion." 

Panel,  20%  x  15. 


132 


729 

FOLLOWER  OF  AGNOLO  GADDL  Florentine  School,  circa 

I333-I395- 

Follower  of  Giotto. 

"  Virgin  Surrounded  by  Angels  and  Saints." 

Panel,  431/2x2014. 


^ 732 


GIROLAMO  DI  BENVENUTO.  Sienese  School,  1470-1524. 

Son  and  pupil  of  Benvenuto  di  Giovanni. 

"  Saint  Anthony." 

Panel,  18  x  6%.   .    C\Jk  y  /-O 


734 

BERNADO  DADDL  Florentine  School,  active  from  circa 

1317,  died  after  1355. 

Probably  pupil,  and  certainly  most  gifted  follower,  of  Giotto,  strongly  influenced 
by  the  Lorenzetti  of  Siena. 

"  Virgin  and  Child,  with  Saints."         "  *^ 

Triptych,  12V2  x  16. 


739       ?^  ' 

ZAGANELLI  (Francesco).  Romagna-Ferrarese  School,  circa 

1460- 153 I. 

Pupil  of  Palmezzano,  influenced  by  Ercole  Roberti  and  Rondinelli. 

Virgin  and  Child,  with  Saints  Anne,  Catharine,  and  Lucia." 

Panel,  101/2  x  19. 


741 

BARTOLO  DI  MAESTRO  FREDL        Sienese  School,  circa  1330-1410. 

Follower  of  Lippo  Memmi  and  the  Lorenzetti,  influenced  deeply  by  Barno. 

"  The  Resurrection."  nn*^ 

Panel,  201/2  XI8I/2. 


Jc^-^-^^      )  743 

GIROLAMO  DI  BENVENUTO.  Sienese  School,  1470-1524. 

1^  Son  and  pupil  of  Benvenuto  di  Giovanni. 

jb'V^^^^     JL  "  Nativity,  with  Busts  of  Saints  Francis,  Jerome  and 
"Tj.  ^  Bernardino." 

^'^-J  Panel,  171/2  x  121/2. 


744 

VENETIAN,  circa  1400.  Venetian  School,  circa  1400. 

"  Virgin  Enthroned — Crucifixion,  Saints,  etc." 

JijJ\A.^^^^^^  Triptych,  201/2  X  2II/2.  |  \y  .  -j7  ^ 

745 

SOUTH  UMBRIAN,  or  ABBRUZZESE.  South  Umbrian,  or 

Abbruzzese,  1372-1410. 

"  Virgin  and  Child." 

,  \  1  '  Panel,  14  x  10. 

747 

SPANISH  SCHOOL.  Spanish  School,  early  XV  Century. 

"  Virgin  Crowned  and  Enthroned  with  Child  on  Lap, 
Gold  Ground." 

0 

Panel,  671/2  x  38I/2. 


752^ 

GIOVANNI  DI  PAOLO  (?).  Sienese  School,  I403(  ?)-i482. 

Pupil,  probably,  of  Paolo  di  Giovanni  Fei,  close  follower  of  Sassetta. 

"  Virgin  and  Child  Enthroned,  with  Angels." 
At  base :  "  Celebration  of  Communion." 

Panel,  21%  x  15%. 
753 

PAOLO  DI  GIOVANNI  FEI  (?).  Sienese  School,  1372-1410. 

Pupil  of  Bartolo  di  Fredi  and  Andrea  Vanni. 

"  The  Last  Supper." 

Panel. 


134 


754 

JACOPO  DEL  SELLAJO.  Florentine  School,  1441/2-1493. 

Pupil  of  Fra  Filippo,  influenced  slightly  by  Castagno's  work's,  imitated  most 
•    of  his  Florentine  contemporaries,  especially  Botticelli,  Ghirlandajo  and 
Amico  di  Sandro. 

"  The  Nativity." 

Panel,  36  x  24%. 


756 

PIETRO  LORENZETTO.  Sienese  School,  active,  1305-1348.  V«/*«-  *" 

Pupil,  probably,  of  Duccio,  influenced  by  Simone  Martini  and  j 
Giovanni  Pisano. 

•  "  Saint  Lucia."     ^  puJ<.    rhUx  fJ^ 

Panel,  27x16.  ^  .         '  / 

^^^^  , 

756  (A) 

MARTINI  (Simone)  Siena 

Born  at  Siena,  1283.      Died,  1350. 
Pupil  of  Duccio. 

"  The  Crucifixion  with  Virgin,  St.  John  and  St.  Magdalena." 


756  (B) 

ITALIAN  XVI  CENTURY. 

"  Cassone  Front.  Mythological  Subject." 

50  X  i6 

ITALIAN  XIV  CENTURY.  KlJM  ^   1^  .^M. 

"  Murder  of  the  Innocents." 

50  X  33  to  Highest  Peak. 


756  (D) 

del  GUASTA  (Benevenuto). 

Born  at  Siena,  1436.    Died,  1518. 

,  "  Virgin.  Child  and  Saints." 

V.'UrvL  \aJ/^  '-'k  ^6^/4  X  27 

^.ruUjA^  ^  135 


756  (E) 

MONTAGNA  (Bartolommeo)  Vincenza 

Born  at  Orzo  Novi  in  Brescia,  1450-60.     Dird  1523. 

"  Virgin  and  Child." 

20^  X  25 


LORENZETTI  (Pietro). 

Born,  XIII.    Died,  XIV  Century 


756  (F) 


Pupil  of  Duccio. 

,         "  Virgin  and  Child." 

756  (G) 

MARTINI  (Bernardino)  Siena 

Born,  1436.    Died,  1526. 

"  Madonna  and  Child." 

14V2  X  21 


136 


LOGGIA. 


757 

BONNAT  (Leon)  

Pupil  of  Ctogniet. 
Medals,  1861-63-67. 
Legion  of  Honor,  1867. 
Medal  of  Honor,  1869. 
Officer  of  the  Legion  of  Honor,  1874. 
Member  of  the  Institute  of  Fi-ance,  1881. 
Knight  of  the  Order  of  Leopold,  •  188L 
Commander  of  the  Legion  of  Honor,  1882. 

"  Portrait  of  A.  L.  Barye." 

36x51 

Dated  1885. 
From  the  Artist. 


758 

BONNAT  (Leon)  

Pupil  of  Cogniet. 
Medals,  1861-63-67. 
Legion  of  Honor,  1867. 
Medal  of  Honor,  1869. 
Officer  of  the  Legion  of  Honor,  1874. 
Member  of  the  Institute  of  France,  1881. 
Knight  of  the  Order  of  Leopold,  1881. 
Commander  of  the  Legion  of  Honor,  1882. 

"  Portrait  of  W.  T.  Walters." 

40X  56 

Dated  1883. 


759 

BONNAT  (Leon)  

Pupil  of  Cogniet. 
Medals,  1861-63-67. 
Legion  of  Honor,  1867. 
Medal  of  Honor,  1869. 
Officer  of  the  Legion  of  Honor,  1874. 
Member  of  the  Institute  of  France,  1881. 
Knight  of  the  Order  of  Leopold,  1881. 
Commander  of  the  Legion  of  Honor,  1882. 

"  Portrait  of  Geo.  A.  Lucas." 

36x51 

Dated  1885. 
Frorn  the  Artist. 


Paris 


Paris 


Paris 


137 


WATER  COLORS  AND  DESIGNS. 

IN  SMALL  GALLERY. 


901 

BIDA  (Alex.)  Paris 

Pupil  of  E.  Delacroix. 
Medals,  1848-55-67  (E.  U.)-78  (E.  U.). 

Legion  of  Honor,  1855. 
Officer  of  the  Legion  of  Honor,  1870. 

"  Religious  Fanatics." 

32  X  22 

From  the  Collection  of  the  Due  de  Morny,  Paris. 

Two  centuries  ago,  the  head  of  a  noted  religious  Order,  encamped  before 
Cairo,  performed  the  miracle  of  riding  into  the  city  over  a  roadway 
formed  of  glass  bottles  and  vases,  not  one  of  which — tradition  says — was 
broken. 

Every  year  this  miracle  is  commemorated  by  the  Head  of  the  same 
Order,  on  his  way  to  Mecca,  riding  over  the  same  roadway,  formed  of 
religious  fanatics  whose  faith  is  expected  to  shield  them  from  injury. 
Three  thousand  five  hundred  bodies  are  required  to  compose  this  roadway. 


902 

BRETON   (Jules)  Paris 

Pupil  of  Devigne  and  Drolling. 
Medals,  1855-57-59-61. 
Medals,  London,  Vienna  and  Brussels. 
Ribbon  of  St.  Stanislas,  of  Russia. 
Legion  of  Honor,  1861. 
Medal  of  the  First  Class  and  Officer  Legion  of  Honor  at  the 
Universal  Exposition,  1867. 
Medal  of  Honor,  Salon,  1872. 
Knight  of  the  Order  of  Leopold,  1881. 
Corresponding  Member  of  the  Academies  of  Vienna,  Stockholm 
and  Madrid. 
Member  of  the  Institute  of  France,  1886. 

"Repose." 

22  X  18 
Dated  1867. 


903 

MILLET  (J.  F.)   -      .  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1853-64  QE.  U.)-67. 


138 


Legion  of  Honor,  1868. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universe!,  1878. 
Born,  1814.     Died,  1875. 

"  The  Angelus." 

l8x  12^ 

From  the  D.  P.  Sellars  Collection,  London. 
Original  Design. 

In  1859  Millet  finished  his  painting  of  "  The  Angelus."  In  this  truly 
original  picture,  Millet  wished  to  give  an  impression  of  music;  he  wanted 
the  voices  of  the  country,  and  even  the  church  bells,  to  be  heard.  "  Truth 
of  expression  will  do  it,"  said  he.  This  was  one  of  his  favorite  pictures; 
in  it  he  revived  his  childhood's  sensations.  As  day  dies,  two  peasants,  a 
man  and  a  woman,  hear  the  Angelus ;  they  rise,  stop  work,  and  standing 
bareheaded,  recite,  with  eyes  cast  down,  the  words  of  the  prayer,  Angelus 
Domini  nuntiavit  MaricB.  The  man,  a  true  peasant  of  the  plain,  his  head 
covered  by  a  mass  of  straight,  short  hair  like  a  felt  hat,  prays  silently;  the 
woman  is  bent  and  full  of  devotion.  Into  it  Millet  put  the  whole  strength 
of  his  color.  When  I  saw  it  for  the  first  time  it  was  almost  finished. 
Millet  said  to  me :'  "  What  do  you  think  of  it?  " 

"  It  is  the  Angelus  !  "  I  cried. 

"It  is  indeed.  You  can  hear  the  bells?"  And  he  added:  "I  am  con- 
tented ;  you  understand  it.    It  is  all  I  ask." 

From  Alfred  Sensier. 


904 

MILLET  (J.  F.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1853-64  (E.  U.)-67. 
Legion  of  Honor,  1868. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universal,  1878. 
Bom,  1814.     Died,  1875. 

"  The  Shepherd  at  the  Fold  by  Moonlight." 

13x9 

Original  Designs 


905 

MILLET  (J.  F.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1853-64  (E.  U.)-67. 
Legion  of  Honor,  1868. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Bom,  1814.    Died,  1875. 

"  The  Sower." 

20  X  17 


139 


906 


MILLET  (J.  F.)  Paris 

Pupil  of  P.  Delaroche. 
Medals,  1853-64  (E.  U.)-67. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Born,  1814.     Died,  1875. 

"  The  Shepherdess." 


907 

BONHEUR  (Mile.  Rosa)  Paris 

Pupil  of  her  father. 
Medals,  1845-48-55  (E.  U.)-67  (E.  U.). 
Legion  of  Honor,  1865. 
Born,  1822.     Died,  1899. 

"  The  Conversation." 

22  X  I4H 

Dated  1858. 
From  the  Artist. 


908 

HEBERT  (A.  A.  E.)  -.      .  Brussels 

Pupil  of  Delaroche. 
Prize  of  Rome,  1839. 
Medals,  1851-55  (E.  U.)-67  (E.  U.). 

Legion  of  Honor,  1853. 
Officer  of  the  Legion  of  Honor,  1867. 
Commander  of  the  Legion  of  Honor,  1874. 
Member  of  the  Institute  of  France,  1874. 

"  At  the  WelL" 

Oval,  9x12 


909 

BIDA  (Alex.)     .  Paris 

Pupil  of  E.  Delacroix. 
Medals,  1848-55-67  (E.  U.)-78  (E.  U.). 
Legion  of  Honor,  1855. 
Officer  of  Legion  of  Honor,  1870. 

"  Moses." 

9x  13 

From  the  Artist. 


140 


910 

BIDA  (Alex.)   Paris 

Pupil  of  E.  Delacroix, 
Medals,  1848-55-67  (E.  U.)-78  (E.  U.). 
Legion  of  Honor,  1855. 
Officer  of  Legion  of  Honor,  1870. 

"  And  Jesus  said :  This  day  is  Salvation  Come  to  this  House." 

Luke  xix.  9. 
19x25 

From  the  Artist. 


911 

BONHEUR  (Mile.  Rosa)  Paris 

Pupil  of  her  father. 
Medals,  1845-48-55  (E.  U.)-67  (E.  U.). 
Legion  of  Honor,  1865. 
Born,  1822.    Died,  1899. 

"  Andalusian  Bulls." 

15x9 

Dated  1867. 


913 

DUPONT   (Henriquel)  Paris 

Pupil  of  Pierre  Guerin  and  Bervie. 
Medals,  1822-53. 
Legion  of  Honor,  1837. 
Member  of  the  Institute  of  France,  1849. 
Grand  Medal  of  Honor,  1855  (E.  U.). 
Officer  of  Legion  of  Honor,  1855. 
Commander  of  the  Legion  of  Honor,  1878. 

Drawing  for  the  Engraving  of 
"  The  Marriage  of  St.  Catherine," 
by  Correggio. 

15x15 

From  the  Artist. 

As  the  authorities  declined  to  permit  the  great  work  by  Correggio  to  be 
removed  from  the  Louvre,  Dupont  was  employed  ten  months  in  producing 
this  elaborate  and  careful  drawing,  as  the  only  means  of  securing  the 
spirit  of  the  original,  it  having  been  for  years  his  ambition  to  make  an 
engraving  of  this  picture  as  the  last  great  work  of  his  life. 


141 


913 


BIDA  (Alex.)  Paris 

Pupil  of  E.  Delacroix. 
Medals,  1848-55-67  (E.  U.)-78  (E.  U.). 
Legion  of  Honor,  1855. 
Officer  of  Legion  of  Honor,  1870. 

"  Prayer  on  the  Housetop." 

gx  13 

From  the  Artist. 


914 

BIDA  (Alex.)  Paris 

Pupil  of  E.  Delacroix. 
Medals,  1848-55-67  (E.  U.)-78  (E.  U.). 
Legion  of  Honor,  1855. 
Officer  of  the  Legion  of  Honor,  1870. 

"  The  Foolish  Virgins." 

12  X  l8 
From  the  Artist. 


915 

DARLEY  (F.  O.  C),  N.  A  Claymont,  Del. 

Academician  of  National  Academy. 
Born,  1822.    Died,  1888. 

"  On  the  Trail." 

i5x  II 


916 

ST.  EVE  (J.  M.),  after  Ary  Scheffer  Paris 

"  Temptation  on  the  Mount." 

131^  X  20 
Dated  1854. 

917 

LA  FARGE  (John)  New  York 

"  Avenue  to  the  Temple  of  lyeyasa,  Nikko,  Study." 


918 

LA  FARGE  (John)  New  York 

"  Blind  Man  and  His  Daughter,  Vaiala,  Samoa." 


142 


919 

PARSONS  (Alfred),  P.  R.  A  '   .  London 

President  of  the  Royal  Academy. 

"  Landscape,  with  Distant  View  of  a  River  and  Town." 

920-939 

TURNER  (J.  M.  W.)  London 

Associate  of  Royal  Academy. 
Born,  1775.    Died,  1851. 

920 

"  Landscape." 
921 

"  Mentone,  on  the  Riviera." 
922 

"  Swiss  Landscape." 
923 

"  Swiss  Landscape." 

924 
"Venice." 

925 

"  Petworth  Park,  Looking  over  the  Lake  towards  the  South 
Downs,  October  8,  1832." 

926 

"  Landscape." 
143 


927 
"  Sunset." 


928 
"  Venice." 

929 

"  Swiss  Landscape." 
930 

"  London,  from  Lambeth  Fields." 
931 

"  Harbor  Scene." 

932 
"  Dover." 

933 

"  Landscape." 
934 

"  The  Shipwreck." 
935 

"  Yacht  Race  at  Cowes." 
936 

"  Street  Scene." 


144 


937 

*'  Hungerford  Bridge,  with  View  of  London." 


938 

"  Crossing  the  Brook." 

939 
"  Tivoli." 


940 

ZAMACOIS   (Eduard)  Paris. 

Pupil  of  Meissonier. 
Medal,  1867. 

Diploma  to  the  memorv  of  deceased  artists,  Exposition 
Universel,  1878. 
Bom,  1843.     Died,  1871. 

"  Waiting  at  the  Church  Porch." 

10  X  14 

From  the  John  Taylor  Johnston  Collection. 


941 

ZIEM   (Felix)  Paris 

Medals,  1851-52-55. 
Leg-ion  of  Honor,  1857. 
Born,  1821.     Died,  1908. 

"  Venice,  Sunset." 

13  X  10 


942 

Venice,  Evening." 

13x8 


943 

WALKER  (Fred'k),  A.  R.  A  London 

Pupil  of  Royal  Academy. 
Medal  at  Paris  (E.  U.),  1867. 
Associate  of  Royal  Academy. 

Born,  1840.     Died,  1875. 

"  The  Fish  Market." 

12  X  8 

145 


944 


ZIEM  (Felix) 


Paris 


Medals,  1851-52-55. 
Legion  of  Honor,  1857. 
Born,  1821.    Died,  1908. 


Holland." 


From  the  Artist. 
Dated  1851. 


945 


WOODVILLE  (R.  C) 


Baltimore 


Born,  1825.    Died,  1856. 

"  Soldier's  Experience." 

II  X  10 
Dated  1844. 

946 


Medals,  1864-66-67  (E.  U.). 
Medal  of  Honor  (E.  U.),  1878. 
Legion  of  Honor,  1869. 
Member  of  the  Order  of  Francis  Joseph. 
Born,  1837.    Died,  1880. 

"  A  Landscape." 

17  X  12 
Dated  1870. 


947 


Pupil  of  Cogniet. 
Medals,  1840-41-43-48. 
Legion  of  Honor,  1846. 
Grand  Medal  of  Honor  (E.  U.),  1855. 
Oflacer  of  the  Legion  of  Honor,  1856. 
Member  of  the  Institute  of  France,  1861. 
Honorary  Member  of  the  Royal  Academy,  London. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  1867. 
Commander  of  the  Legion  of  Honor,  1867. 

Grand  Medal  of  Honor  (E.  U.).  1878. 
Grand  Officer  of  the  Legion  of  Honor,  1881. 
Bom,  1813.    Died,  1891. 


"  Courtyard  of  the  Artist's  Studio." 


JACQUEMART  (Jules  F.) 


Paris 


MEISSONIER  (J.  L.  E.) 


Paris 


7x  13 


Dated  1877. 


« 


146 


948 

ZIEM   (Felix)  Paris 

Medals,  1851-52-55. 
,  Legion  of  Honor,  1857. 

Bom,  1821.    Died,  1908. 

"  Venice,  Sunset." 

13x9 


949 

Venice,  Morning." 
13x8 


950 

GREEN  (Charles)  London 

Member  of  the  Society  of  Water  Colors. 
Born,  1840.     Died.  1898. 

"The  Derby."— "  Here  They  Come!  Here  They  Come!" 

31  X  16 

Universel  Exposition,  Paris,  1878. 
Dated  1877. 


951 

PILS  (J.  A.  A.)  Paris 

Pupil  of  Picot. 
Prize  of  Rome,  1838. 
Medals,  1846-55-57-67  (E.  U.). 

Legion  of  Honor,  1857. 
Grand  Medal  of  Honor,  1861. 
Officer  of  the  Legion  of  Honor,  1867. 
Member  of  the  Institute  of  France,  1868. 
Bom,  1813.    Died,  1875. 

"  Artillery  Practice." 

40  X  19 

Dated  1860. 
From  the  Artist. 


952 
"  Zouave." 


147 


953 


RICO  (Martin). 

Medal,  1878  (E.  U.). 
Legion  of  Honor,  1878. 
Silver  Medal  Universal  Exposition,  1889. 

"  Seville." 

19  X  12 

Wm.  H.  Stewart  Collection. 


954 

DETAILLE  (Edouard)  Paris 

Pupil  of  E.  Meissonier. 

Medals,  1869-70-72. 
Legion  of  Honor,  1873. 
Officer  of  the  Legion  of  Honor,  1881. 

"  Ready  to  March." 

9x  13 
Dated  1874. 


955 

FORTUNY  (Mariano)  Rome 

Pupil  of  the  Barcelona  Academy. 
Chevalier  of  the  Order  of  Charles  HI. 
Prize  of  Rome  from  Spain,  1858. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Born,  1838.    Died,  1874. 

"  The  Mendicant." 

6  X  10 


956 

BOUGHTON  (G.  H.),  A.  R.  A. 

Member  of  the  National  Academy  of  Design. 
Associate  of  the  Royal  Academy. 

"  Brittany  Interior." 


957 

MERLE  (Hugues)  Paris 

Pupil  of  Cogniet. 
Medals,  1861-63. 
Legion  of  Honor,  1866. 
Born.  1822.     Died,  1881. 

"  The  Good  Sister." 

sYi  X  7 

From  the  Artist. 


148 


958 

BOUGHTON  (G.  H.),  A.  R.  A  London 

Member  of  the  National  Academy  of  Design. 
Associate  of  the  Royal  Academ.^'. 

"  The  Fairy  Tale." 

10x14^ 

Dated  1887. 
From  the  Artist. 


959 

ZIEM  (Felix)  Paris 

Medals,  1851-52-55. 
Legion  of  Honor,  1857. 
Born,  1821.    Died,  1908. 

"  Tunny  Fishing." 

13x9 


960 

"  Marseilles." 

i3x8H 

Dated  1863. 


961 

ACHENBACH  (Oswald)  Diisseldorf 

Pupil  of  his  brother. 

Medals,  1859-61-63. 
Legion  of  Honor,  1863. 

"  Posilipo — Looking  towards  Naples." 

16  X  10 


962 

.  HEILBUTH   (Ferd.)  Paris 

Medal,  Second  Class,  1857-59-61. 
Legion  of  Honor,  1861. 

OfBcer  Legion  of  Honor,  1881. 
Member  Society  French  Artists. 

Born,  Hambourg.    Died,  1889. 

"  Pincian  Hill,  Rome." 

8x  12^ 

Wm.  H.  Stewart  Collection. 


149 


963 


GIACOMELLI  (F.)   Paris 

"  Birds." 
I7X5H 

From  the  Artist. 


964 

ISRAELS  (Josef)   .      The  Hague 

Pupil  of  Kruseman  and  Picot. 
Chevalier  of  the  Order  of  Leopold. 
Medal,  1867  (E.  U.)-78  (E.  U.). 
Legion  of  Honor,  1867. 
Officer  of  the  Legion  of  Honor,  1878. 

"  A  Dutch  Interior." 

i6  X  10^/2 


965 

FORTUNY   (Mariano)  Rome 

Pupil  of  the  Barcelona  Academy. 
Chevalier  of  Order  of  Charles  III. 
Prize  of  Rome  from  Spain.  1858. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel.  1878. 
Born.  1838.    Died.  1874. 

"  Don  Quixote." 

I5X  i8 

Dated  1869. 


966 

ROUSSEAU  (Theo.)       .........  Paris 

Pupil  of  Lethiere. 
Medals,  1834-49-56. 
Legion  of  Honor.  1852. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.).  1867. 
Diploma  to  the  memory  of  deceased  artists,  Exposition 
Universel,  1878. 
Bom,  1812.     Died,  1867. 

"  A  Landscape." 

14  X  12 
Dated  1845. 


150 


967 


RICO  (Martin)  Paris 

Medals,  1878  (E.  U.). 
Legion  of  Honor,  1878. 
Silver  Medal  Universal  Exposition,  1889. 

"  A  Spanish  Garden." 

19  X  12 

Wm.  H.  Stewart  Collection. 


968 

FORTUNY  (Mariano)  Rome 

Pupil  of  the  Barcelona  Academy. 
Chevalier  of  Order  of  Charles  lil. 
Prize  of  Rome  from  Spain,  1858. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Born,  1838.     Died.  1874. 

"  Cafe  of  the  Swallows." 

Wm.  H.  Stewart  Collection. 


969 

CLAYS  (P.  J.)  Brussels 

Medal  (E.  U.)  1867. 

Legion  of  Honor,  1875. 
Chevalier  of  the  Order  of  Leopold. 
Medal,  Exposition  Universel,  1878. 
Officer  of  Legion  of  Honor,  1881. 

Born,  1819.    Died,  1900. 

"  Moonlight  on  the  Thames." 

20  X  13 
Dated  1876. 


970 

FORTUNY  (Mariano)  Rome 

Pupil  of  the  Barcelona  Academy. 
Chevalier  of  the  Order  of  Charles  IIL 
Prize  of  Rome  from  Spain.  1858. 
Diploma  to  the  memory  of  deceased  artists.  Exposition 
Universel,  1878. 
Born,  1838.     Died,  1874. 

"  Faithful  Friends." 

20  X  16 

This  picture  was  presented  by  the  artist  to  the  fund  for  the  relief  of  the 
sufferers  in  Chicago  by  the  great  fire  of  1871. 

From  the  Cutting  Collection. 


151 


971 

GALLAIT   (Louis)  Brussels 

Pupil  of  Celothue  and  Hennequin. 
Medals,  1835-48. 
Legion  of  Honor,  1841. 
Chevalier  of  Order  of  Crown  of  Oak,  Holland. 
Honorajry  Member  of  the  Royal  Academy,  London. 
Grand  Cordon  of  the  Order  of  Leopold. 
Member  of  the  Academy  of  Antwerp. 
Born,  1810.     Died,  1888. 

"  The  Duke  of  Alva,  the  Emissary  of  Philip  II  of  Spain  in  the 
Netherlands,  Contemplating  the  Beheaded  Counts 
Egmont  and  Horn." 

19x14 

Dated  1859. 


973 

RICO  (Martin)   Paris 

Medal,  1878. 
Leg-ion  of  Honor,  1878. 
Silver  Medal  Universal  Exposition,  1889. 

"  Seville/' 

19x12 

Wm.  H.  Stewart  Collection. 


973 

ALMA-TADEMA  (L.),  R.  A  London 

Pupil  of  Leys. 
Member  of  the  Royal  Academy,  Amsterdam,  1863. 
Medal  at  the  Salon,  Paris,  1864. 
Knig^ht  of  the  Order  of  Leopold  (Belgium),  1866. 
Second-class  Medal  at  the  International  Exposition,  Paris,  1867. 
Knight  of  the  Order  of  the  Dutch  Lion,  1868. 
Knight,  First  Class,  of  the  Order  of  Merit  of  St.  Michael, 
Bavaria,  1869. 
Member  of  the  Royal  Academy  of  Munich,  1871. 
Knight  of  the  Order  of  the  Legion  d'Honneur,  France.  1873. 
Grand  Gold  Medal,  Berlin,  1874. 
Member  of  the  Royal  Academy,  Berlin,  1875. 
Member  of  the  Society  of  Painters  in  Water  Colors^  London. 
Knight  of  the  Third  Class,  Lion  d'Or  of  the  House  of  Nassau,  1876. 
Knight  of  the  Third  Class  of  the  Koenigliche  Kronen-Orden 
of  Pr-ussia,  1877. 
Honorary  Professor  of  the  Royal  Institute  of  Fine  Arts. 
Naples,  1878. 

First-class  Medal  at  the  International  Exhibition,  Paris,  1878. 
Officer  of  the  Legion  of  Honor.  1878. 
Royal  Academician,  1879. 
Order  of  Merit,  Berlin,  1881. 
Corresponding  Member  Academy  des  Beaux  Arts,  1881. 

"  Xanthe  and  Phaon." 

13x18 

From  the  Artist. 
Dated  1883. 


The  marble  seat,  on  which  the  younger  people's  fate  was  decided,  was 
called  by  the  grandchildren  of  the  wedded  pair,  who  lived  to  old  age  in 
love  and  harmony,  "  the  bench  of  the  question." 

From  "  A  Question,"  by  George  Ebers. 

London,  December  22,  1884. 

My  Dear  Mr.  Walters: 

Since  you  left  London  some  months  ago,  I  have  all  the  time,  nearly, 
been  busy  to  satisfy  your  wish  to  possess  a  picture  of  mine  representing 
the  two  figures  of  '*  The  Question,"  which  suggested  the  charming  idyl  of 
that  name,  by  Geo.  Ebers,  you  know  so  well.  To  enable  me  to  make  a 
picture  of  the  same  group,  I  have  taken  up  that  book  and  tried  to  find 
there  the  necessary  ground  to  make  the  work  interesting  to  me  and  give 
it  an  aim.  In  fact,  it  has  now  come  to  this :  I  painted  a  picture,  Ebers 
wrote  a  novel  upon  my  picture,  and  I  have  now  painted  a  picture  upon  this 
novel.  The  title  of  the  picture  is,  therefore,  the  names  of  the  hero  and 
heroine  of  the  book,  namely,  Xanthe  and  Phaon. 

I  have  made  the  boy  as  noble-looking  and  near  the  subject  as  I  could, 
and  the  girl  in  her  role  dissatisfied  with  him,  and  full  of  the  effect  produced 
by  the  stories  told  to  her  about  him,  more  sad  than  anything  else. 

The  seat  was,  according  to  Ebers,  put  on  a  dike  which  united  the  property 
of  the  two  brothers,  and  was  rather  neglected,  so  I  have  put  over  the  seat 
a  Stella  on  which  are  the  names  of  the  two  brothers,  the  proprietors  of 
the  two  properties,  and  a  branch  of  olive  in  sign  of  peace,  besides  a  bas- 
relief  representing  the  wealth  of  the  two  properties  personified. 

Leading  downward  is  a  staircase,  up  which,  as  you  can  see  by  the  fallen 
rose-leaves,  Xanthe  has  arrived  with  the  roses  gathered  for  her  work,  and 
in  passing  by  the  tank,  I  suppose  she  has  thrown  a  handful  of  loose  rose- 
leaves  of  the  too  full-blown  roses  into  the  water. 

I  do  hope  you  may  be  satisfied,  as  that  is  the  only  wish  that  made  me 
work  hard;  and  could  it  be  otherwise?  as  you  must  always  look  at  this 
picture  as  a  result  of  your  last  visit  to  my  studio,  at  which  I  felt  so  truly 
gratified. 

I  am,  dear  Mr.  Walters, 

Yours  very  sincerely, 

(Signed)       L.  Alma-Tadema. 


974 

ALMA-TADEMA  (L.),  R.  A  London 

Pupil  of  Leys. 
Member  of  the  Roj^al  Academy,  Amsterdam.  1863. 
Medal  at  the  Salon,  Paris.  1864. 
Knight  of  the  Order  of  Leopold  (Belgium),  1866. 
Second-class  Medal  at  the  International  Exposition,  Paris,  1867. 
Knight  of  the  Order  of  the  Dutch  Lion,  1868. 
Knight,  First  Class,  of  the  Order  of  Merit  of  St.  Michael. 
Bavaria,  1869. 


153 


Member  of  the  Royal  Academy  of  Munich,  1871. 
Knight  of  the  Order  of  the  Legion  d'Honneur,  France.  1873. 
Grand  Gold  Medal,  Berlin,  1874. 
Member  of  the  Royal  Academy.  Berlin.  1875. 
Member  of  the  Society  of  Painters  in  Water  OolorSj  London. 
Knight  of  the  Third  Class,  Lion  d'Or  of  the  House  of  Nassau.  1876. 
Knight  of  the  Third  Class  of  the  Kcenigliche  Kronen-Orden 
of  Prussia,  1877. 

Honorary  Professor,  Royal  Institute  of  Finie  Arts,  Naples.  1878. 
First-class  Medal  at  the  International  Exhibition.  Paris.  1878. 
Officer  of  the  Legion  of  Honor,  1878. 
Royal  Academician,  1879. 
Order  of  Merit,  Berlin,  1881. 
Corresponding  Member  Academy  des  Beaux  Arts.  1881. 

"  'Twixt  Venus  and  Bacchus." 

II  X  23 

From  the  Artist. 
Painted  1883. 


975-985 

TURNER  (J.  M.  W.)    .       .       .   London 

Associate  of  Royal  Academy, 
Born,  1775.     Died,  1851. 


975 
"  Arundel." 


976 

"  Norham  Castle." 


977 

"  Swiss  Landscape." 


978 

St.  Paul's  Cathedral,  Whispering  Gallery  on  the  Right." 


979 
"  Margate." 


154 


980 

"  Swiss  Landscape." 
981 

"  English  Landscape." 


982 

"  The  Bridge  in  the  Middle  Distance." 
983 

"  Augsburg." 


984 

"  Landscape." 


985 

Pere  la  Chaise. 


986 

GLEYRE  (Charles),  after       ........  Paris 

"  Daphnis  and  Chloe." 

10^  X  13 


987 

JOHNSON  (Eastman),  N.  A  New  York 

Member  of  the  National  Academy. 

"  Spanish  Woman." 

7x8 

Dated  1862. 


155 


988 


MEISSONIER  (J.  L.  E.)  Paris 

Pupil  of  CogTiiet. 
Medals,  1840-41-43-48. 
Legion  of  Honor,  1846. 
Grand  Medal  of  Honor  (E.  U.),  1855. 
Officer  of  Legion  of  Honor,  1856. 
Member  of  the  Institute  of  France,  1861. 
Honorary  Member  of  the  R.  A.,  London. 
One  of  the  eight  Grand  Medals  of  Honor  (E.  U.),  1867. 
Commander  of  the  Legion  of  Honor.  1867. 

Grand  Medal  of  Honor  (E.  U.),  1878. 
Grand  Officer  of  the  Legion  of  Honor,  1881. 
Born,  1813.     Died,  1891, 

"  His  Own  Portrait." 

9x8 

Dated  1853. 


989 

SCHEFFER  (Ary)  Paris 

Pupil  of  Guerin. 
Grand  Prize  for  Painting  at  Antwerp,  1816. 
Legion  of  Honor. 
Born,  1795.    Died,  1858. 

"  Dante  and  Beatrice." 

7^x14 

From  the  Collection  of  the  Queen  of  Holland. 


990 

TITIAN  (Tiziano  VecelH)  ^  Venice 

Bora,  1489.     Died,  157G. 

"  Sketch—  Peter  Martyr.'  " 


156 


ARTISTS  REPRESENTED. 


Achenbach,  A.,  ii6,  155 
Achenbach,  O.,  961 
Agostino  da  Lodi,  545 
Aldegrever,  381 

Alma-Tadema,  31,  86,  159,  165,  973, 
974 

Aspertini,  441 

Baker,  66,  73 
Bakhuisen,  340 
Banchi,  643 
Barna,  737 

Bartolo  di  Maestro  Fredi,  741 

Basaiti,  444,  594 

Baudry,  12 

Beccafumi,  435 

Becker,  162 

Bedolo,  548 

Beechey,  176 

Belle,  401,  406 

Bibiena,  503,  525 

Bicci,  675,  700 

Bida,  901,  909,  910,  913,  914 

Biondi,  719 

Bles,  290 

Bol,  360 

Boltraffio,  493 

Bonheur,  907,  911 

Bonington,  219 

Bonnat,  74,  173,  757,  758,  759 

Bonsignori,  449,  450 

Bonvin,  199 

Bordone,  578 

Botticelli,  422,  427,  434 

Boucher,  391,  402,  404 


Boughton,  129,  198,  956,  958 
Brandon,  33 
Breton,  57,  58,  902 
Bril,  656 
Bronzino,  451 
Brueghel  (Pieter),  364 
Brusasorci,  452,  585 
Bugiardini,  472,  483 
Butinone,  455,  539 

Cabanel,  99,  146 
Calame,  108 

Camerino  (Christofano  da),  712 

Camerino  (Girolano),  687 

Campi,  459 

Canaletto,  460,  603 

Caravaggio,  651 

Carli,  480,  485,  490 

Caroto,  464 

Carpaccio,  466 

Caselli,  571 

Catena,  583 

Chaplin,  46 

Chavet,  204 

Church,  147 

Civerchio,  462 

Clairin,  82 

Clays,  125,  969 

Clouet,  412 

Collins,  222,  228 

Conegliano  (Cima  da),  470 

Constable,  15,  180,  213,  235 

Coques,  387 

Corot,  152,  154,  164,  192,  194,  201 
Courbet,  203 


157 


Couture,  23,  44 
Cozzarelli,  698 
Cranach,  269 
Crivelli  (Carlo),  593 
Crivelli  (Vittoria),  709 
Crome,  200,  212,  223 

Daddi,  553,  734 
Dagnan-Bouveret,  28,  49 
D'Allemanno,  693 
D'Amatrice,  702 
Darley,  915 
D'Assisi,  691 

Daubigny,  17,  35,  128,  163 

Daumier,  7 

David,  392 

Decamps,  8,  42 

Degas,  179 

De  Heusch,  241,  4i9h 

Dei  Carli,  461 

Delacroix,  i,  6,  10,  62,  no,  186 

Delaroche,  83 

De  Neuville,  40,  93,  118 

Denner,  264 

Detaille,  92,  190,  954 

Diaz,  43,  64,  114,  121,  145,  177 

Domenico,  421,  428 

Dosso  Dossi,  423,  599 

Drouais,  390 

Drummond,  205 

Dupont,  912 

Dupre,  38,  61,  120,  135 

Durand,  122 

Elliott,  68,  70,  94,  1 01 

Fabriano  (Antonio  da),  439 
Fabriano  (Francesco  di  Gentile  da), 
566 

Fei,  686,  728,  753 
Ferrari,  711 
Filippo,  592 
Foligno,  620 
Foppa,  706 

Fortuny,  117,  148,  150,  191,  955,  965, 
968,  970 


Fragonard,  399,  405 
Francesco,  511,  637,  695,  726 
Frere,  18,  20,  22,  24,  27,  29 
Fromentin,  100,  126,  195 
Fungai,  482,  616 

Gainsborough,  210,  240,  268 
Gallait,  78,  119,  124,  134,  971 
Garofani,  497 
Gellee  (Claude),  218 
Gericault,  189 
Gerini,  746 

Gerome,  34,  51,  113,  131,  204a,  204b 
Ghirlandajo,  436 
Ghislandi,  486 
Giacomelli,  963 
Giovanni  da  Milano,  718 
Giovanni  di  Paolo,  554,  727 
Giovenone,  567 

Girolamo  di  Benvenuto,  721,  732, 
743 

Gleyre,  184,  986 
Goltzius,  243 
Gossaert,  293 

Goya  y  Lucientes,  161,  283,  284 
Goyen,  350,  375 
Green,  950 
Greuze,  398,  403 
Guardi,  602,  607,  615 
Guaroleagrele,  513 
Guasta,  756d 
Guercino,  463 

Hals,  345 
Harpignies,  181 
Hart,  103 

Hebert,  2,  5,  133,  908 
Heilbuth,  962 
Henner,  89 
Herbert,  67 
Herring,  19 
Hogarth,  232 

Holbein  (the  younger),  249,  257 
Honthorst,  653 
Hoppner,  224 
Huys,  262 


158 


Ibbettson,  209 
•    Imola  (Innocenza  da),  697 
Ingres,  9,  13 
Inness,  112 
Isabey,  63,  90 
Israels,  964 

Jacopo,  754 
Jacque,  80,  81 
Jacquemart,  946 
Jalabert,  37,  91,  106,  188 
Jimenez,  4 
Johnson,  987 

Knaus,  21,  187 
Kurzbauer,  102 

La  Farge,  917,  918 
Lanini,  493 
Lanziani,  515,  610 
Largilliere,  410 
Laurana,  677 
Lawrence,  227,  236,  237 
Le  Brun,  393 
Lee,  174 
Lely,  208,  231 
Le  Moyne,  414 
Leslie,  214 
Leys,  123,  144 
Lippi,  429 
Longhi,  587 
Loo,  409 

Lorenzetti,  731,  756,  756f 
Lorenzo  (Bicci  di),  448 
Lorenzo  (Fiorenzo  di),  440,  477 

Macrino,  570,  689,  690 
Madrazo,  48 

Maestro  dei  Garofani,  497 
Maestro  del  Bambino  Vispo,  632, 

724 
Marilhat,  96 
Mariotto,  641 
Maris,  202 

Martini  (Bernardino),  756g 
Martini  (Simone),  756a 
Matteo,  498,  586 


Max,  170 

Mazzola  (Filippo),  523 
Mazzuola,  494 

Meissonier,  52,  149,  151,  947,  988 
Mengs,  245,  252,  260,  263 
Merle,  172,  957 
Mieris  (Frans  van),  382 
Mieris  (William  van),  379 
Millais,  85 

Millet,  30,  87,  115,  153,  903,  904,  905.  • 
906 

Modena  (Barnaba  da),  443 
Monet,  II 
Montagna,  756e 
Morland,  230 
Moroni,  501 

Miiller  (C.  Leopold),  178 
Muller  (Charles  L.),  75 
Munkacsy,  60 
Murillo,  277,  28s,  286 

Neufchatel,  251 
Netscher,  265 
Nicola,  687 

O'Connor,  221 
Opie,  215 
Ortolano,  445 

Pacchia,  425 

Pacchiarotto,  622 

Palma  (Antonio),  572 

Palma  (Giovane),  590 

Palmezzano,  437,  505,  507,  547 

Pannini,  510,  516 

Paolo  (di  Giovanni  Fei),  753 

Paolo  (Giovanni  di),  489 

Parsons,  919 

Pasini,  193 

Passerotti,  453 

Pater,  413 

Pencz,  246 

Pennacchi,  508 

Perugino,  475 

Pettenkofen,  53 

Piazza,  509 


159 


Pils,  951,  952 
Pinturicchio,  430,  514 
Pistoia  (Gerino  da),  454 
Plassan,  45,  47,  56 
Pontormo,  596 
Pourbus,  416 
Poussin,  407 
Preyer,  139 
Puligo,  652 
'  Puvis  de  Chavannes,  16,  156 

Raeburn,  207,  238 

Raffaello  Dei  Carli  (or  Croli),  644 

Raphael,  484 

Rembrandt,  298,  344 

Reni,  491,  492,  662 

Reynolds,  98,  225,  267 

Ribera,  278,  659 

Ribot,  3 

Ricci,  512 

Rico,  185,  196,  953,  967,  972 
Rimini    (Giovanni   Francesca  da), 
488 

Rimini  (Lattanzio  da),  495 
Riviere,  84 

Romano,  640,  685,  703 
Romney,  226,  239 
Rondinelli,  517 
Rosa,  549 
Rosselli,  518 
Rotta,  182 

Rousseau,  25,  137,  204c,  966 
Ruisdael  (Solomon  van),  351 

St.  Eve,  916 
Saint-Jean,  166,  168 
Salerno,  420 
Sanders,  217 

Sanseverino  (Lorenzo  di,  the 

younger),  496 
Santa  Croce,  569,  577 
Scarsellino,  442 
Scheffer,  iii,  989 
Schiavone,  519 
Schmon,  385 
Schreyer,  76,  88,  136 


Serravalle,  438 
Shee,  72 
Signorelli,  520 
Sodoma,  522 
Sogliano,  472,  524 
Solario,  469,  502 
Spagna,  Lo,  526 
Speranza,  527 
Stevens,  141,  183 
Stone,  69 
Strigel,  663-674 
Stuart,  171 

Suttermans,  279,  280,  330 

Terburg,  270 
Thaulow,  14,  97,  175 
Theotocopuli,  424 
Tiepolo,  657 
Tintoretto,  504,  528,  591 
Titian,  582,  990 
"  Tommaso,"  458 
Troyon,  59,  160 

Turner,  32,  36,  41,  130,  132,  920-939, 
975-985 

Uden,  419k 

Utile  of  Faenza,  471,  506 

Van  der  Goes,  296 

Van  der  Heist,  71 

Van  der  Neer,  320,  346 

Van  Dyck,  233,  234 

Van  Leyden,  289 

Van  Marcke,  65,  77,  104,  109,  143 

Vanni,  717 

Vautier,  127 

Velde  (William  van  de,  the 

younger),  321 
Veneziano,  635 
Vernet,  54 
Vibert,  197 
Vickers,  55 
Villegas,  105,  107 
Vincent,  229 

Viterbo  (Antonio  da),  479 
Viterbo  (Matteo  da),  750 


i6g 


Vivarini  (Alvise),  535 
Vivarini  (Antonio),  537 

Walker,  943 
Weeks,  169 
Werner,  417 
Willems,  50,  140 
Wilson  (Jock),  79,  211 
Wilson  (Richard),  206,  220 
Woodville,  142,  945 


Yvon,  95 

Zaganelli,  581,  739 
Zamacois,  39,  940 
Zanobi,  714 
Zeitblum,  663-674 
Zelotti,  541 

Ziem,  26,  138,  157,  158,  167,  941,  942, 

944,  948,  949,  959,  960 
Zoppo,  542,  543,  544 


161 


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GETTY  CENTER  LIBRARY 


3  3125  00106  2948 


